Understanding small music venues - A REPORT BY THE MUSIC VENUE TRUST
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1 understanding small music venues A REPORT BY THE MUSIC VENUE TRUST
2 3
Partners
for Venues Day
Arts Council England Independent Venue Week
The Institute Music Venues Alliance
March 2015 The Southbank Centre UK Music
Contact:
MARK DAVYD, CEO
07778 668225 / mark@musicvenuetrust.com
BEVERLEY WHITRICK, STRATEGIC DIRECTOR
07031 745994 / beverley@musicvenuetrust.com
www.musicvenuetrust.com
info@musicvenuetrust.com
4 5
foreword
A FEW WORDS FROM MUSIC VENUE TRUST
Music Venue Trust, founded in 2014, is a registered charity that seeks to preserve,
secure and improve the UK’s network of small to medium scale, mostly independently
run, music venues. We have a long term plan to protect that live music network which
includes, where necessary, taking into charitable ownership freehold properties so
they can be removed from commercial pressures and leased back to passionate music
professionals to continue their operation.
In the lead up to and at Venues Day 2014, held at the Southbank Centre, London on 9
December and attended by over 120 venues from across the UK, our partners at the
Institute for Contemporary Music Performance conducted the first ever national research
about how these venues operate, the challenges they face and the role they play.
We would like to thank Tom and the team at The Institute for their work in bringing it
together, and to thank our partners at UK Music, Independent Venue Week and Southbank
Centre for their support for both this report and Venues Day 2014. We’d also like to thank
Arts Council England for their support for this work.
We feel this research is crucial to understanding what we can do to ensure we act together
to protect, secure and improve the UK’s grassroots music venues.
Music Venue Trust believes that the UK’s artists and audience deserve world class music
venues across the country that support local music communities and nurture and grow our
outstanding talent.
This report provide an opportunity for the music industry, the cultural sector and local
and national government to quickly and effectively help us achieve that aim, and we look
forward to working with them to respond to its recommendations with direct action.
MARK DAVYD
CEO
MUSIC VENUE TRUST
www.musicvenuetrust.com
6 7
executive
summary The report ‘Understanding Small Music Venues’ is an attempt to capture, through both
qualitative and quantitative data, a sense of the current state of play of the UK’s small
independent music venues. This report considers specific individual feedback from venue
owners, promoters and other stakeholders.
It is clear from the evidence captured that the UK’s independent venues represent a
diverse sector whose constituents play a vital role in the ecology of both the music
industry and broader cultural sector; with positive impact on businesses, communities and
economies – both local and national. The report reveals independent music venues to be
operating under significant pressures, both financial and regulatory.
The report also highlights concerns about the image of such venues, indicating that further
work needs to be done to shift public perception away from a rather tired pejorative of
the ‘toilet circuit’ to a more celebratory narrative. This narrative must acknowledge and
respect both the increased professionalism of the sector and the vital role such venues
play in the grassroots development of live music. It is hoped that this report will lend both
respectability and rigour to the debates about the future and value of such spaces, with the
insights offered helping to broaden and temper such debates.
The report concludes with our recommendations for actions that will further support,
underpin and value this vital part of the cultural sector. The recommendations are captured
under specific headings which seek to clarify roles, responsibilities and activities, namely:
activism; advocacy and support networks; improving the experience for musicians;
qualitative arguments; formal representation; lobbying for review of licensing and
regulation; venue identity and investment.
It is only through taking such a holistic view of the UK’s small independent music venues
that both the true complexity of the debates and the true cultural, economic and social
value of the sector might be recognised.
8 9
contents
INTRODUCTION 10
The role of small music venues in the UK 11
Saving and safeguarding the ‘Toilet Circuit’: 12
Music Venue Trust and other Initiatives
Venues Day 2014 13
METHODOLOGY 13
FINDINGS 14
The Survey 16
The Interviews 18
The Panel Discussions 28
SUMMARY 34
Our View 37
Acknowledgements 42
APPENDICES 44
References 46
Appendix i: Survey summaries 48
Appendix ii: Venues Day 2014 schedule 56
Appendix iii Venues Day 2014 delegate list 60
10 11
introduction the role of small music
venues in the uk
This report presents the findings of a research project undertaken by the Institute Venues hosting live music can be found in music-making, and often continue to
of Contemporary Music Performance (hereafter The Institute) investigating the in almost every town across the United do so throughout their lives. Beyond the
experiences of small music venues in the UK. The project was commissioned by the Kingdom, and range from the back rooms musicians who play there, these small
Music Venue Trust (MVT) and funded by Arts Council England (ACE) via an allocation of independently-run pubs to the largest venues also play host to communities of
of a grant awarded to MVT (Grant for the Arts ref. 27555752) and by The Institute. of corporate arenas. In this report we fans, employees, volunteers, promoters
focus on the smaller venues that “fulfill and other enthusiasts. Indeed, these
All of the authors are interested in this debate as performers as well as teachers and a crucial role in providing a forum for groups can often be the same people
researchers in higher education, and we greatly welcome the opportunity to contribute those commercial acts too small for the wearing different 'hats' as part of vibrant
to the vital discussion around music venues in the UK. chains, yet sit awkwardly between the DIY scenes (Gordon 2012, Kirschner
pillars of ‘commerce’ and ‘culture’”(Behr 1998). As Smith & Gillett (2015, p21) note,
et al., 2014a, p.5): that is, they are usually “There is life in the underground, and it is
dependent on the market for their survival vibrant with relationships, creativities and
but are often subsistence rather than profit- entrepreneurship”. It is important therefore
driven, and fulfill a vital role in fostering to recognize these spaces both in terms
underground and emerging popular culture of their contribution to the £789 million
but are not typically supported by public GVA and the 21,600 jobs attributed to UK
funding for the arts. live music (UK Music, 2014a), but also to
the nation’s social and cultural life. It is in
It is in these venues that professional terms of these roles and characteristics
musicians typically begin their careers, that we delineate ‘small venues’ in this
developing their skills and craft before report, rather than according to threshold
scaling up to larger venues. Furthermore, as criteria of capacity or size, although
is too often overlooked, they are also where we acknowledge that at present some
vast numbers of amateur (in the positive regulatory conditions are contingent upon
sense of the word) musicians first engage venue capacity.1
1 The venues featured in this study range in size from less than 100 capacity to over 500,
with the majority in the 100-300 range (see Appendix i.) .12 INTRODUCTION 13
saving and venues day 2014
safeguarding
the ‘toilet circuit’
MUSIC VENUE TRUST AND OTHER INITIATIVES
Behr et al. (2014a) note that small venues These venues have played a crucial role MVT, in association with a number of other Venues Day 2014 provided a unique opportunity
are highly susceptible to the vagaries of in the development of British music interested parties (see Foreword) and funded to capture comparative insight into the day-
local and national policy and its application, over the last 40 years, nurturing local by Arts Council England, hosted Venues to-day realities of the UK’s small music venues,
in particular with regard to noise, and talent, providing a platform for artists Day 2014 on the 9th December 2014 at the which are often obscured amidst the gloss
also lack the financial resources to adapt to build their careers and develop their Southbank Centre in London. This was a large and spin of media and policy depictions of the
to rising property prices. These factors music and their performance skills. The networking event intended to provide a forum ‘buoyant live music industry’ at large. We sought
together make their day-to-day existence Music Venue Trust has a clear 5-year for representatives of small music venues in the to capitalise on this opportunity, and our findings
precarious, and have led to many iconic plan to ensure those venues continue United Kingdom and other stakeholders to air are presented in this report.
venues closing for good. to play their vital role in supporting and share their experiences and perspectives,
the British music success story (MVT, and identify actions and strategies for
Responses to these closures have included 2015). addressing common issues. It was the first
online campaigns that in some cases have event of its kind in a sector that has no union
garnered high profile political support. A Closely allied with but separate from MVT, or representative body, and drew delegates
notable example is Bristol’s The Fleece, Independent Venue Week (hereafter IVW) from across the country. The day included
whose petition amassed 30,000 signatures has been established as ‘a 7 day celebration three themed discussions, interspersed with
in 48 hours, and secured the support of of small music venues around the UK, and general networking, breakout sessions and other
Bristol’s mayor George Ferguson and Bristol a nod to the people that run them, week in, activities.
East MP Kerry McCarthy. McCarthy has week out’ (IVW, 2015). Independent Venue
also given public support to the future of Week 2015 (Monday 26th January to
the small venues circuit more generally, Sunday 1st February 2015) saw 92 venues
alongside other political figures including
Mike Weatherley MP.
from across the UK host shows by 450
artists in awareness and celebration of the
small venues that:
methodology
Advocacy groups and initiatives have also
formed in recent years to celebrate small […] give artists their first experience of The research followed a mixed methods approach comprising a survey conducted in the
music venues and draw attention to the playing live in front of an audience and run-up to Venues Day 2014, interviews with delegates and analysis of the panel and
increasingly precarious conditions under give fans somewhere to get up close to audience discussions that took place on the day.
which they operate. The Music Venue Trust artists that one day may well be playing
(hereafter MVT), for whom we undertook stadiums and festival main stages
this report, was established in January (IVW, 2015).
2014, and acquired charitable status in
December 2014. Its stated mission is as Both MVT and IVW have secured public
follows: funding from Arts Council England for
their work, and gained official support from
Our immediate focus is on securing public and industry figures (see MVT’s
the long-term future of the iconic and IVW’s websites for details of patrons,
venues which make up the “toilet champions and supporters).
circuit”, venues like Southampton
Joiners, Tunbridge Wells Forum, the
100 Club, Exeter Cavern, Hull Adelphi,
Manchester Band on the Wall. […]14 15
findings
SURVEY
INTERVIEWS
PANEL DISCUSSIONS16 FINDINGS: THE SURVEY 17
the survey
The survey was promoted via social media and emailed directly to venues between venues provided rehearsal space in addition
September and November 2014, and was tethered to the sign-up for Venues Day to performance space.
2014. As such, all 109 survey respondents were subsequently registered as delegates
representing their venues. The dual aims of the survey were to capture descriptive The survey results also offered insight into
and contact data, in order to generate both an impression of the venues represented at the facilities and resourcing of venues.
Venues Day 2014, and a database of contacts to whom the on-going work of MVT and Almost half (48.62%) of the venues
its associates could be communicated, and through which a more formalised network represented in the survey did not have
could be established. their own back-line, and 34.68% had
no disabled access. These findings may
The respondents represented venues SURVEY FINDINGS hint at the possibility of lack of funding
from all four ACE regions, three of the four The survey data (see Appendix i for for development, although it must be
UK home nations (all except Northern infographics) highlight unambiguously acknowledged that there are many other
Ireland) and spanned from Inverness in the richness and diversity of cultural possible factors behind such statistics.
the North of Scotland to Plymouth in the activity occurring within small venues.
South West of England. It is difficult to In purely musical terms, a vast gamut of Varying degrees of stability in terms of
gauge precisely what proportion of the UK’s musical interests was catered for across management and tenancy were evidenced.
small live music venues is represented by the 109 venues represented. Perhaps Some venues had been established for
this sample, owing in part to considerable unsurprisingly, the survey results displayed more than 50 years (6.42%), others less
opaqueness in terms of how premises/ a bias towards popular genres typically than a year (3.67%). Current management
businesses identify and market themselves. featuring a guitar-bass-drums-vocals-type ranged from 25 years to 5 weeks in post. Of
For example, many pubs, restaurants and set up (e.g. indie, alternative rock), although the 78 respondents whose venue owners
other spaces host live music of some kind, it must be acknowledged that such were not the freeholders of their building,
and thus might be considered live music genres are themselves internally diverse 44.87% held long-term leaseholds, 3.85%
venues in some regard. However, the extent (the typology of genres provided in the held short-term leaseholds and 28.21% had
of this activity can vary markedly, from the questioning was inevitably reductive, as any renewable tenancy agreements.
occasional musical event to a mainstay would have been, with the option of ‘other’
of the premises’ identity and business allowing for additional genre types to be The vast majority of respondents held
model. At the same time, many premises registered if desired). However, while most a PRS licence (95.41%), a smaller large
marketed primarily as live music venues in venues programmed music from across a majority (85.32%) held a PPL licence,
practice have a range of revenue streams range of genres with ‘no boundaries’, others and 81.65% complied with the Musicians’
including club nights, rehearsal studios, catered more narrowly for minority tastes Union Fair Play policy, illustrating their role
cafes and restaurants. As discussed below, (‘experimental music’). in remunerating musicians and composers,
understandings of what a music venue is - and contributing to the wider music
and accordingly who might be considered Beyond the core programming of musical economy.
part of the ‘real’ live music sector - appear acts, almost all venues (98.17%) hosted
to relate to cultural identity as much as to other forms of entertainment. These
measurable criteria, and this ambiguity is a included dance (22.94%), theatre
source of considerable tension. The findings (33.03%), comedy (56.88%), DJs
from this research go some way to bringing (66.06%) and karaoke (6.42%). Others
clarity to this landscape, both in terms of reported hosting community group
mapping via the survey and by providing activities (this is explored in detail in the
qualitative insight through interviews. analysis of interview data). 44.04% of18 FINDINGS: THE INTERVIEWS 19
the interviews
Interview participants were sourced from the Venues Day delegates and 20 interviews planning on the table […] months before had adversely affected its public image, in
were conducted; 18 at Venues Day itself and 2 subsequently by telephone. The [complaints were made]’. contrast to the neighbouring bars that had
interviews were semi-structured and targeted themes that related to the strategic subsequently started programming music:
objectives of the MVT, ACE, Southbank Centre and The Institute. While a degree of Two respondents noted that their venues
partiality must therefore be acknowledged, these themes are prominent within public bore the brunt of noise-related complaints Now everyone in the street is allowed
discussion surrounding the live music sector, and within general discourse surrounding in their area because of the assumption to open their doors wide open and play
cultural spaces (see, for example, Behr et al (2014b)). Furthermore, the semi- that ‘if there is a noise it’s probably the music out. So for us, people walking
structured interview design allowed for discussion to be inductive and participant- live music venue’s fault’. One respondent past, we look dead because we’ve got
driven, mitigating against potential bias in data collection. All participants were given noted that local fast food outlets and a all this soundproofing and then all the
formal guarantees of anonymity and confidentiality . train station were major sources of street other places have got this loud music.
noise, but that complaints were inevitably
Interview data were analysed using an tendency among freeholders to ‘follow addressed to their venue. Dealing with increasing levels of
inductive approach as outlined by Thomas the money’, of which venues had little competition was identified as a challenge
(2006). This involved reading and re- and developers a lot. He gave examples of Three respondents expressed their by several respondents. While one asserted
reading the interview transcripts and where, insofar as he understood, landlords frustration that the majority (or in one case his belief that ‘density of business brings
ascribing characteristics and themes to the had served notice on venues following all) of the complaints filed against them business’, another spoke of licensing laws
interview data. The data from all interviews offers from property developers with which over several years could be attributed to having led to the availability of music being
were then collated together into themes, the venues could not hope to compete. one person. However, one respondent ‘saturated’. This was related by some
and considered comparatively. These are As discussed under Cultural Value, he remarked that while their relationship respondents to the issue of Venue Identity,
presented below. perceived this to be having a devastating with their neighbours was good, the local discussed below. Three respondents
effect on the UK’s cultural landscape. authority continually subjected them to identified a lack of communication between
INTERVIEW FINDINGS: Another respondent suggested that the noise review despite their having received local venues, which one believed often
CHALLENGES developers appeared to have little interest no complaints, and having complied with resulted in direct competition that might be
A significant challenge identified among in community opposition, even when and met the requirements set out by avoided:
interviewees was the threat posed by expressed via a petition with thousands of Environmental Health. This caused him a
property developers. Respondents from signatories. great deal of anxiety: How can [we] work together and
Liverpool, London and Birmingham actually work [our] programmes
noted huge increases in new residential An associated challenge related to the That happened three times, and I said, together? “I’m having a punk night,
developments in historically industrial issue of noise. As might be expected, this “Look, it’s not fair for me to have to you do an indie night” or something.
areas. This was attributed by two challenge was identified mainly among put up with this stress,” because that’s It’s different audiences. Constantly
respondents to ‘incredibly relaxed respondents whose venues were in densely what it is. I can’t ever stop thinking competing at all times doesn’t work out
planning’, and specifically to amendments populated areas. Two respondents felt that about it, because I don’t know if they’re for anyone.
made in 2013 to planning legislation: noise abatement legislation was implicitly going to say to me, “Actually, yes. Noise
biased in favour of residential development; abatement order.” A general challenge identified by
[if] you own an office block you can within the current legislative climate, respondents was diminishing audiences.
[now] turn it into flats [easily]. And owners of newly developed residential Two respondents noted that taking a This issue was related by one respondent
they’ve gone, “Oh great, here we go, properties ‘literally next door to venue[s]’ pre-emptive approach to noise issues to the recession, by another to students’
we’ve finally got an answer to our could mount complaints and ‘get [the by approaching neighbours directly had lack of disposable income (discussed under
dinosaur building. venue] closed down’. One respondent helped to reduce complaints. In one Education) and by another to the apparent
voiced their suspicion that in one well respondent’s case this had involved lack of interest in live music among the
Another respondent spoke of a general publicised case ‘it sounds like there was ‘pay[ing] for people to have double glazing general public (discussed under Cultural
- whatever it takes.’ Other respondents had Value). Respondents spoke of having
sought to install increased soundproofing difficulty sustaining their venues, and
2 The study was reviewed and approved by The Institute’s Research Ethics Committee. in their venue. However, one noted that this breaking even financially:
Information sheets and consent forms detailing how the data were to be used and
published were presented to all participants prior to data collection.20 FINDINGS: THE INTERVIEWS 21
Nearly all of us are working flat out, an environment where people can be Some respondents were frustrated that in the local community infrastructure. In
trying to do the one thing that we do inspired by music. […] We have people the music they offered was not always around half of the respondents’ venues,
the best we can to make it sustainable. that come from across the country, understood or appreciated, and identified community engagement took the form of
Obviously the money is always the from Europe and even from across the a preference among audiences for well- providing space for activities such as dance,
biggest challenge. In two and a half Atlantic, because they’ve heard of what known rather than original music: language classes, religious societies, choirs
years, I haven’t paid myself a penny yet. we do. or reading groups:
I’ve just about survived, week to week. I think we’ve always offered quite a
Especially the smaller venues are just I think we’ve always wanted to be good music policy, or least I think we We’ve always wanted to engage with
really starting to struggle. more than just a music venue, we’ve did, […] but I think people are very the community, and not just music - we
always wanted to […] put on culturally much of the [major local nightclub do other things as well.
Several respondents identified a lack important activities. type] mainstream.
of collectivism within the sector, and Where no formal community engagement
expressed a desire for more mutual support Some respondents contrasted this with [I ask] “So you’d rather give money to a of this kind occurred, respondents saw
mechanisms: what they saw elsewhere within the pub to put on karaoke and tribute bands their venues’ primary role of programming
sector. In particular, some respondents than something like this?” because musical events as being community
I’m trying to find a way to get an idea differentiated between ‘real’ music venues there’s a lot of original music at this engagement in and of itself, or described
together that links some of the existing and other spaces that programmed live place. their venues in terms of being ‘for want of a
campaigns that exist to save venues or music. For example: better word, a bit of a hub’. One respondent
to make it easy for venues to protect You’ve got a lot of pubs but most of spoke of the impact that their venue’s
themselves. It’s a bone of contention since this new them do cover bands so there might be status had on public perceptions of their
licensing, because I do think places that seven or eight pubs every Friday and cultural and community value:
One of the challenges as I’ve put on live music and music venues are Saturday night that put on cover bands.
discovered today is that it’s really hard two different things. I think […] we were recognised more
to build a network of people of venues It seems to be really hard to get people because of our charitable status and for
in your local area, much less around the One respondent suggested that the to come in for anything that’s not well being a valuable community resource
country. new licensing laws had led to people known. [than for our musical activities].
‘opening new venues to exploit the city’s
I guess [we need a] community of cultural reputation, and [created] more This had caused one respondent to wonder One believed that community relations
venues and promoters and people competition’, while another spoke of whether her belief that live music was were crucial to venues’ being accepted,
interested in the industry, […] we several pubs near his venue that ‘believe important- a central premise of Venues Day and that venues should strive to ‘be more
could probably do with a bit more of a programming music will help their bottom 2014 - was in fact misplaced: physically visible in their local communities
collective voice. line, when in fact it is adding cost and [has] by how they contribute’ in order to ‘dispel
over-saturated the availability of music I don’t know, because we all sit around this old idea of the venue as a nuisance
VENUE IDENTITY in the area.’ Others were disparaging of saying how important live music maker, a noise maker, a source of drunk
The issue of venues’ identity and ethos the quality of musical output from newer venues are and how great it is, but people’.
emerged as a prominent theme within the venues: it’s like, “Is it? Is it important to other
interviews. Respondents spoke of their people?” Some respondents understood the notion
efforts to convey a sense of integrity in their We’ve [always] tried to have a certain of community engagement in terms of
programming: level of professionalism and put a COMMUNITY ENGAGEMENT cultural or artistic communities, rather
show across and project everything in All respondents reported close links than locality. One respondent spoke of
We handpick our shows and make sure a certain level and standards, and I feel with the community, and even those that the ‘alternative’ focus in his venue, which
that the programme reflects what we like I’ve got two venues opposite [who described their venues as ‘destination catered for a minority audience in a city
want to say as a venue. I want it to be don’t] do it to our standard. venues’ with international reputations felt with a very ‘mainstream’ culture, while
that they served an important function another recounted how his venue ‘was a22 FINDINGS: THE INTERVIEWS 23
bi-product of an artist-led [community]’. There’s nowhere else that would give culturally rich to the detriment of all ages events, which limited the extent to
One respondent spoke in plural terms of new bands or local talent the chance that cultural richness, until what you which she could do so.
communities, noting that many different other than us. We’re the only venue have is a Central London location with
groups benefitted from their presence and I really know. We are the lifeblood of lots and lots and lots of flats and lots of Responses regarding the issue of
activities: up-and-coming producers, DJs and Pret a Mangers and lots of chain shops. volunteering were mixed. Several
musicians. respondents reported high levels of
There are different communities YOUTH ENGAGEMENT requests for volunteering and internship
of users. The people who come for While others spoke more in terms of the Almost all respondents reported positive opportunities:
comedy, there’s the mums, there’s audience perspective, noting that their engagements with young people. Often
the dancers, there’s the religious venues offered the possibility of new this involved formal collaborations with I have people contact me all the time
folks, there’s the giggers, there’s the cultural experiences: schools, colleges and universities, which about trying to do unpaid volunteering
drinkers and they can exist in harmony are covered separately below. Beyond this, maybe shadowing, things like that.
hopefully. They may bleed into one If you show up at 7:30 tonight you can many respondents’ venues were involved We have so many people approaching
another. walk in, have a drink, see three bands with nationwide or regional initiatives to us to volunteer that we don’t need to
and one of them might change your life. promote youth engagement in the sector advertise for it. People are constantly
Uniquely among the interviewees, one We often have people who go to the such as the Big Music Project, that gave asking if they can come and flyer or
respondent referred to social media in loo, come back through the wrong door young people the opportunity to learn take photographs, or stuff for guest list
terms of consolidating and communicating and find themselves in a music venue about aspects of the industry such as sound or for free entry, and yes there’s quite a
with the venue’s community: and go, “This is quite good, I’m going to engineering, ticketing and promotion. In lot of that.
stay for a while.” addition, many made their space available
There’s a lot [of community to young people for recording, rehearsal, Levels of volunteering ranged from ‘4 to 5
engagement] through social media; it’s Another aspect of venues' cultural value ping-pong and other activities during the [working] at any one time’, to occasional ad
through Facebook, Twitter; we’ve got related to heritage. One respondent daytime. hoc help ‘pulling down shutters, collecting
a huge mailing list. Because we’ve got believed that many venues should be glasses, that sort of thing.’ One respondent
these Facebook accounts and we’re awarded blue heritage plaques to illustrate Around half of respondents’ venues catered reported having had ‘very successful
saying it’s not just a case of promoting their cultural significance, and spoke at to under-18s in their programming, whether relationships with people that have come
bands, it’s asking the public what bands length of the cultural history he felt was through 14+ shows, all-ages events during to work for me in a work experience mode
they’d like us to put on. at risk in the current climate. He gave the the daytime or family-oriented events. who have then gone onto have a career in
example of one iconic London venue that Respondents reported having musicians as the music industry.’ However, others spoke
Finally, as is discussed in detail below under ‘[was] going to go, and also a rehearsal young as 12 perform at their venues. One of the difficulty of using volunteers because
Education, the majority of respondents’ room behind it, and also loads of music respondent struggled to find ways to make of the time it took to organise and the fact
venues maintained formal and/or informal shops. There’s a huge history in that street’, under-18 events financially viable: that sometimes ‘they [don’t] show up.’ Two
links with educational communities. and of another lesser-known venue that respondents were against volunteering on
was due to ‘get torn down, and it’s only the I’d like to do more stuff with young the principle that work should be paid:
CULTURAL VALUE place where they made [a seminal Britpop people. It’s how we make money if
Respondents were passionate in music video], so that’s another bit of they’re not drinking, that’s what I need We pay them. If we have someone
asserting the value of live music, both history gone’. He commented on the short- to work out. doing something, if we want someone
in instrumentalist terms relating to its sightedness of developers seeking to ‘cash to come in and do something boring
contribution to the local and national in’ on East London’s cultural reputation, Another noted that when his venue’s we just pay them, we’re not going to
economy, and in terms of its intrinsic only to raze its cultural landscape in the official capacity was reached at under-18 pretend to them that they’re going to
cultural value. Two respondents spoke process: events it was ‘two-thirds empty’ because get to work at the venue if they come
of the unique role their venues played in of the absence of his typical audience’s in and do something boring. If we want
nurturing local musical talent: I find it mystifying that it’s so attractive ‘middle-aged spread’. Another respondent someone to do something boring we
to build new flats in an area that is so spoke of the time required to organise all- just pay them to do it.24 FINDINGS: THE INTERVIEWS 25
One respondent’s venue employed an from the students they trained. Another We’ve struggled to get people from the their activities and responsibilities in
apprentice, which was in part funded by respondent’s venue collaborated mainly universities to come to events, even a manner that offers clarity to venues.
the Creative Employment programme, with art and design students, who worked music students. We’re trying to tackle While some respondents reported
facilitated by UK Music, under their with the venue to design their flyers and [that] at the moment with the help straightforward negotiations with the
apprenticeship scheme. posters. of the lecturers, to get more people to Performing Rights Society for Music (PRS),
actually come. the general impression was one of strained
EDUCATION In addition to formal projects, some relationships:
The majority of respondents reported that respondents reported high levels of In contrast however, one respondent’s
their venues maintained collaborative student-driven collaboration. This venue had stopped working with We don’t have PRS funding at the
relationships with universities, schools and could take the form of student society universities because of students’ attitudes moment. […] We were turned down for
colleges, although this ranged from ad hoc fundraisers, or students contacting the towards its staff: out last application and we weren’t told
and informal engagement to formalized venue to ask for advice on their projects: why.
knowledge share and project work. One I gave them a really good night of the
respondent felt that this was an area of The university’s burlesque society week, they turned up, all the students Well PRS, I’ve been contacting them
activity that should increase within the has their home with us, so we have were pretty rude to our sound techs over the eight years, and they’ve been
sector, but was cautious about its strain on performance art as well as music. and didn’t bother turning up to the giving me the run around constantly,
resources: The students just come and get in sound check and then complained and eventually I said I was going to start
touch with me, and go, “We’ve got an about their sound when they suddenly a petition online to get them to realise
My point of view is that venues should assignment to do.” bring on a brass section without any that there is activity outside London.
do more of it if they can. As long as it warning. Then none of the students
doesn’t represent the kind of drain on We get students who are doing sound actually watched each other’s bands, PRS are causing us a little bit of a
their finances that stops them being tech courses and stuff and they come they just played and then went outside. nightmare. They were initially trying to
able to operate, I think they should in […] to get a better idea of what it is charge me £1,000 a year, which would
absolutely do more of it. actually like in a working environment PRS AND PPL put us out of business at this point. [My
rather than just sitting in a classroom Respondents demonstrated a lack of clarity boss] phones them up every now and
Two respondents had been asked by local learning about it. around the various roles of PRS for Music then and goes, “you’re too expensive”.
universities to contribute their expertise (licensing for live music performance),
through lecturing and consultancy. Other respondents spoke of how reliant PRS Foundation (the grant giving charity In particular, there was a perception
Others reported offering formal work they were on student audiences: that aims to support new music) and among some respondents that PRS
placement opportunities to event PPL (licensing for pre-recorded music). were obscurantist about their licensing
management students from local, and The residents of XXXX tend not to That lack of clarity results in a negative requirements:
in one case international, universities. come, but the students do. I think impression among many respondents
Others spoke of their venue being used maybe we’re a bit too underground for towards one organisation as a result of I’ve had telephone conversations with
as a performance space for end of year the local ‘yuppies’. the perceptions of the activity of another them. […] The guy on the phone said
shows and assessments for local colleges. - that a failure to support venues by PRS to me, ‘You have to pay if you play
The most common area of collaboration But three respondents suggested that Foundation is interpreted as a failure to music’.” And I was like, “No, that’s not
however was sound engineering and student audiences had sloped off recently. support venues by PRS for Music and vice the law. The law says I have to pay you
technology. Two respondents spoke of One attributed this to students’ lack of versa with licensing concerns. For the if I play music for which you have been
local colleges wanting to take advantage of disposable income because of student fee purposes of this report we have grouped authorised to collect the royalties.
the venues’ high-specification technology, increases, while another had sought help the attitudes towards PRS for Music and […] We play cutting-edge music. As
and in particular the soundboards. For one from the university to encourage students PRS Foundation into one heading. We far as I’m concerned, I don’t play any
respondent’s venue, this was a mutually to use their venue: recommend that both organisations commercial music.”
beneficial arrangement as it allowed them should address this confusion by defining
to develop a roster of sound engineers That’s been quite difficult actually.26 FINDINGS: THE INTERVIEWS 27
One respondent suggested that PRS was mobile number. And they used to send that ‘they’re kind of tied; they can only do that their applications for funding had
doing more to damage the live music sector policemen in plain clothes, but they so much’. Another reported that the local been repeatedly rejected, despite (in
than it was to empower musicians: started to like the music. The police councillors had helped them in lobbying one case) their venue winning some
actually had a Christmas do in one of activities. significant accolades:
I wonder if an organisation like that our little pop-up venues.
wouldn’t be better off giving small Some respondents described highly Not a cent. With XXXX, we won ‘best
venue owners, who are passionate and One respondent reported that the positive, reciprocal relationships with venue in XXXX’ [two years running],
don’t take much of a salary [a break]. I police had supported her venue in their the local council. For example, one we won the ‘best venue in the country’
wonder if that £15,000 isn’t better well applications for Temporary Events (TENS) respondent’s venue provided the PA for through XXXX, but no one ever saw fit
spent on actually just letting the venue and other licensing, and had been ‘fantastic’ the town’s Christmas lights ceremony, to give us a penny.
operate. […] That money would be in helping them combat card skimming. and other street parties, and in return
better spent maintaining those levels benefitted from the advice of the local
of venue, to ensure that the bands Across the respondents, relationships with business manager. Another respondent
can then come and then play and then the local council were more mixed. One recounted that the local authority paid for
drive a source of income, because it’s respondent described her local council as the marquee at the town festival, while their
all well and good having PRS but if you ‘very, very conservative’, and accordingly venue booked the bands and provided the
haven’t got the venue PRS is practically she had sought to keep a distance ‘because PA system.
pointless. I don’t want to politicise our venue’.
Another spoke of having to actively ‘carve FUNDING
The majority of our respondents our relationship out. It wasn’t easy’. They Around half of the interviewees said
were not involved in negotiating their had sought to do so in order to avoid they received no public funding and
venue’s relationship with Phonographic what they saw as the typically negative relied entirely on commercial income.
Performance Limited (PPL), but those who relationship between venues and the local Among those that did, this ranged from
were appeared to find the relationship authority: contributions towards standalone events,
less problematic because of the lower to participation in Lottery-funded initiatives
fees involved, and because of PPL’s active I think what we learnt from was and schemes (such as the Big Music
support of events. probably most venues don’t have a Project), to funding for BBC events, to direct
good relationship. We had to have a funding from ACE (Grants for the Arts). In
RELATIONSHIPS WITH problem in order to strike a relationship. one instance of the latter, the respondent
THE LOCAL AUTHORITY noted that it had enabled their venue to
AND PUBLIC SERVICES One respondent reported that ‘elements of undertake a project that would have been
Most respondents reported having the local authority have been a nightmare’. unviable otherwise:
positive relationships with the police. In particular, the Environmental Health
Those whose venues were in large cities Officer had misinformed him of the local It’s been very important for the
reported working closely with the police to situation with regard to historic noise programme that we’ve just put on
anticipate, identify and monitor criminal complaints. Another complained that the because we would never have been
behaviour (such as through Pub Watch), local MP had not responded to any of their able to do it otherwise.
and in the case of one respondent’s venue emails. Others felt that the local authority
the police were regular customers off-duty. was too supportive of developers. On the Other respondents felt that their
Other respondents depicted similar friendly other hand, one respondent noted that venues had benefitted indirectly from
and informal relationships: local councillors had been very supportive Arts Council funding by working with
of their cause in opposing developments, other institutions that were ‘more
[We have] a lot of contact with our and were ‘against the aggressive nature of plugged in to that kind of thing.’ Two
local bobby, we even had his personal the developers’ plans’, but acknowledged respondents however were frustrated28 FINDINGS: PANEL DISCUSSIONS 29
panel
discussions
A final data set was comprised of transcriptions of three panel discussions that took informed the formation of the Music pockets [if other financially successful
place on Venues Day 2014. Panel participants were selected purposively by MVT on the Venues Alliance in the months immediately stakeholders won’t]’.
basis of their experience and expertise regarding the themes under focus, and to reflect following Venues Day 2014, and also
the range of stakeholders within each theme. Each panel discussion was opened up to informs our recommendations. Several audience members mentioned
delegates for questions, insight and discussion. the use of club nights to subsidise live
The themes emerging from the panel music venues. Through a show of hands,
The panel discussions based around three impromptu perspectives. Comments and discussions largely coincided with those this was demonstrated to be a significant
broad themes, as follows: questions were then invited from audience identified in our analysis of the interviews, survival tactic used by almost all of the
members and responded to in the round. and are examined below. venues represented. The pitfalls of this
MAKING GOOD VENUES GREAT approach were explored as well. Many
“What makes a good venue into a great Panelists and audience members had CHALLENGES pointed to the lack of actual return after
venue? What could venues do more been cautioned by the Chair of the first As in the interviews, panellists and costs, while others mentioned that club
of to increase their value to music fans panel that due to time constraints these audience members identified a range nights further associate venues with late
and to musicians? How do we reach discussions were not meant to focus on of challenges faced by music venues. night ‘debauchery’, which can then lead
new audiences and talk to the industry details of specific experiences of individual Audience perspectives during Panel One: to noise complaints or negative attitudes
better?” venues and how these had been dealt with, ‘Making Good Venues Great’ largely from neighbours, the council and police.
but rather to offer a platform for general focused on issues that impede venues from Jehnny Beth (Panel One) offered a
NOISE VS. NUISANCE discussion and sharing. This framing could being as all stakeholders would like them musician’s perspective, stating that ‘for
“What are the factors that can make be part of why the overwhelming focus to be. Financial pressures were prominent artists it is not nice to have to play early and
your music noise a nuisance and how was on general challenges rather than here, summed up by one participant’s evacuate to prepare for a club night’, which
can you manage it? Do we need an on specific steps undertaken to address statement that ‘[those working within the negatively impacted upon the atmosphere
Agent of Change principle?” them. While the one-to-one interviews we sector] want to provide good venues, but surrounding their performance. Others
undertook suggested that the challenges it is all about money.’ Frequent mention pointed to the financial downturn and the
MOVE ON UP: WHAT’S NEXT? faced and steps taken by venues can often was made of the need for ‘investment’ in rise of VAT as reasons why punters were
“What have we learned and what can be quite locale-specific, it is hoped that venues, whether this be from successful less willing to come out and/or purchase
key stakeholders do about it?” sharing individual experiences through this promoters, state subsidy or other methods. the tickets and drinks that had at one time
report will enrich the discussions that took Venue owners in the audience referred made venues financially viable.
The panels were mainly comprised of place at Venues Day 2014, and promote to promoters not being sufficiently
industry stakeholders ranging from venue a better understanding of the sector as a supportive by ‘paying their way’, or by Audience members expressed their
owners, to musicians, to representatives whole. booking successful bands in the locales personal weariness with the need to
from the Musicians Union and Attitude is in which they had ‘cut their teeth’. It was constantly invest their own money and take
Everything, a disabled access advocacy Despite calls from the hosts to ‘try and also mentioned that many managers significant financial risks:
group, to MPs supportive of live music. give things a positive spin and avoid a would not allow their musicians to play
Panels also included experts from legal ‘bitchfest’’, and another panellist claiming ‘unless they are promoting something’. We have to figure out how this is going
and environmental backgrounds, some of Venues Day 2014 to be ‘a celebration not One participant identified what he saw to work so that as a business owner I
whom were issued with bells to interject a wake’, it became clear that many venue as the crux of the problem: ‘venues need am allowed to make money.
where discussion veered into legally or owners and other stakeholders felt it investment from somewhere, and it can’t
scientifically inaccurate territory (see was vital and constructive to share their just come from guys who own the venue’. One participant suggested that
appendix ii for full panel profiles). In all concerns and struggles in this large-group Another audience member weighed ‘communities [thought] that the venue[s]
panel discussions, each panellist was setting, even if specific, focused solutions funding options, asking ‘why shouldn’t they will always be there despite the precarious
given an opportunity to introduce her/ were not always identified or explored in [publishers, record companies, festivals] be situation most are in’, and argued that it
himself and her/his angle on the topic at great detail. As will be discussed below, the asked to put their hands in their pockets?’ was essential to make this precariousness
hand. Some panellists read from prepared identification of shared challenges faced by while admitting that it was a ‘big ask of explicit to those communities in order to
speeches, while others gave more venues in these panel discussions directly any government to put their hands in their generate support and awareness. Others30 FINDINGS: PANEL DISCUSSIONS 31
identified ongoing noise and nuisance towards the type of people who might won’t be anything [of cultural value] power’. Accessibility, she explained, is
complaints as having a major impact frequent these venues. It’s [often] 18- left in central London. not necessarily about building wheelchair
on their ability to plan and grow their 30 year olds, there’s drink involved, ramps or spending money; venues can take
businesses. The financial challenges posed it’s dangerous. Actually a lot of what PROPOSED NEXT STEPS certain basis steps to ensure they attract
by handling noise problems emerged as a is being addressed today through Proposals for next steps were identified the widest audience possible. Those she
significant focus of the second panel, ‘Noise environmental heath, through noise in the final panel discussion which was mentioned were:
vs. Nuisance’. In one instance, a single abatement, through sound meters, dedicated specifically this task, but
complainant had led to a venue owner is actually only a part of the picture, were also teased out during the earlier • Ensuring clear accessibility information
having to spend £10,000 in the last three which is [also] about a cultural attitude sessions. We have grouped these into three online and in advance
years. Another participant indicated that toward making music and making the categories: • Providing free tickets for personal
she had been unable to develop her venue arts. assistants
in positive ways due to having to focus on IMPROVING VENUES • Creating viewing areas where disabled
the noise problems it was facing: Identifying and moving beyond this Jehnny Beth of Savages offered simple, people can be safe
category error prompted another audience common sense suggestions for making
Each one of those authorities are member to articulate what they saw as a venue better for musicians, which REAPPRAISING NOISE AND NUISANCE
getting paid to do their job, whereas I’m the purpose of music and venues, and the arose from a poll she conducted with her Several specific recommendations arose
not getting paid to do mine. I’m getting potential loss to communities, which, as colleagues. These were developed through from the discussions surrounding noise and
bogged down. The whole process just many interview participants referenced, discussion on Venues Day, and included: nuisance. Many of these were linked to the
starts again. I’m absolutely consumed are becoming increasingly homogenised in need to create a representative body for
with work and investigation and trying their infrastructural and cultural offerings: • Keeping ‘good customer service is at the venues:
to put in systems to cover my back, so core of everything’
I haven’t been able to push the venue If you can’t have noise in the city centre, • Ensuring that promoters, engineers and • Devising a procedure for complaining
forward for the past 9 months. are we supposed to do this outside staff are on time, available, about complainants (the audience
the Nike outlet store 4 miles outside knowledgeable erupted in applause when this point was
As with several of the interviews, the of town? It’s intrinsic to the nature • Assisting band in loading in and out mentioned)
panel discussion on noise centred around of cities that we do music in the city • Double-checking that sound systems • Promoting recognition that a successful
the perceived lack of training among centre. If you make music, people will and cables work and microphones are business will have noise relating to
Environmental Health Officers, new hear it. That’s why you did it and that’s clean access and egress
development taking precedent over why people like it. • Providing safe places to store equipment • Lobbying for new noise legislation,
existing venues, instances where one or a and a comfortable backstage area whereby 'the new has to accommodate
few complainants can succeed in closing a Another participant offered more details • Considering musicians' perspectives on the existing', and the responsibility for
venue, and the perceived lack of awareness on the situation faced by her own venue venue sponsorship (‘not everyone will modification and soundproofing rests
of the cultural value of live music among in London, which was facing a noise want to play in front of Redbull sign’) with the developers of new buildings
Local Authorities and licencing, The panel abatement order to close its garden at 9pm • Cultivating a pro-musician ‘mind in an area (akin to the Agent of Change
discussion and ensuing audience insights because of neighbour complaints: set’, through (for example) signs asking principle)
led to direct calls for a body to clearly audiences to stay quiet and respect
articulate the cultural contribution of The money I used to make from selling music; bar staff remaining quiet at the Shifting the conversation toward cultural
venues to their communities, and across food in my garden used to subsidise till; treating every artist the same way value. Recommendations were made
the UK more broadly. One participant the venue. Council officers do not take regarding how to change negative
summed up this theme: on board that we employ 48 people Suzanne Bull MBE of Attitude is Everything perceptions of music venues and assert
and have been there 60 years. Adele offered her organisation’s services to their cultural value. These included:
This seems to be a category error— played there when she was 16 and Bob assist venues in making their venues
that what’s being dealt with is a Dylan played there in the ‘60’s. We are more accessible to disabled fans who • Promoting understanding among
pejorative attitude toward live music, up against it and they don’t care. There represent ‘£212 billion in spending licensing officers that ‘[venue ownersYou can also read
