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 / [email protected]

BEVERLEY WHITRICK, STRATEGIC DIRECTOR 07031 745994 / [email protected] www.musicvenuetrust.com [email protected] 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

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 summary 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 the role of small music introduction 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 from across the UK host shows by 450 Mike Weatherley MP. artists in awareness and celebration of the methodology small venues that: 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 DISCUSSIONS 16 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% of 18 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 a 22 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 frustrated 28 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. Others 30 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 owners 32 FINDINGS: PANEL DISCUSSIONS 33

are] involved in a culture-making effort, not a money-making effort’ • Displaying badges/plaques recognising venues’ cultural heritage and value • Seeking tax breaks for venues making less than a threshold amount of money

Further proposed next steps included venue-specific actions, as well as the broader establishing of a representative body dedicated to supporting venues – the Music Venues Alliance. 34 35

summary

SUMMARY OUR VIEW ACKNOWLEDGEMENTS 36 SUMMARY 37 summary our view

Depicted across each of the three data sets (survey, interviews, panel discussions) is We wish at this point to restate our position in relation to the MVT. As a research a culturally rich grassroots sector upon which a diverse range of stakeholders depend partner, we were tasked with investigating and documenting the experiences of small for employment, training, social interaction, community engagement and cultural music venues in relation to the strategic objectives of the Music Venue Trust and sustenance. Yet challenges relating to regulation, licensing, public perception and the other partners. Just as the participants’ responses presented here represent their rapidly changing urban environment are threatening their survival, with demoralizing own perspectives only, so our analyses here are our own and not those of the MVT effect. However, the collective and individual voices presented in this report indicate or ACE. That said, our involvement in this project is not disinterested, and ultimately that there is will, know-how and ingenuity to take positive steps to secure the future of stems from our advocacy and support for the work of MVT, IVW and others seeking small venues. to strengthen and safeguard the grassroots of the live music sector. Accordingly, as an interested party we offer our suggestions on the basis of our findings for how the sector and its supporters might move forward from the present situation and secure a sustainable future for live music in the UK.

ACTIVISM community arenas are crucial to furthering Notwithstanding the mixed reception of the cause of small music venues. There are the Live Music Act 2012, and regardless of notable examples of this from individuals, the impact of the Act itself, its existence is but more are needed. Furthermore, we surely testament to the fact that focused believe that prominent advocacy from activism can effect actual, tangible change institutions and organisations - both within in policy. That said, passivism and even and outside the music industry - will lend apathy within the grassroots of the live considerable visibility to the role of small music sector were perceived by three of music venues in local, sector and global our interviewees, and have been noted in a economies, and in social and cultural life. press editorial (Beth, 2015). This stands in Other potential advantages are resource contrast to perceptions of the situation in share, funding, representation and Europe. We understand of course that the consultancy. day-to-day pressures of survival in today’s economic and regulatory climate can As was evidenced in the interview data, suppress the impetus - and indeed the time links with the education sector can form the available - for activism, but nonetheless basis of robust, reciprocal ecologies. From believe that a more active spirit of our own perspective as an industry-focused resistance will help achieve a critical mass music education provider, we recognize the within the grassroots that would improve network of small venues as a central aspect the lot for all. On a positive note, the of our students’ extra-curricular education, traction and support achieved by MVT in its as well as an essential resource enabling us short existence (culminating in a 300-plus to embed their formal education within a people display of collectivism at Venues real-world context; we utilize our links with Day) and by other initiatives (notably IVW, venues to host performances, assessments LMX and others) belie these perceptions and showcases, and to provide event of apathy and hint at a politically energized management opportunities. We also draw sector. This energy needs to be harnessed. upon expertise, employing venue staff as visiting or guest lecturers. In return, ADVOCACY AND venues benefit from revenue from venue SUPPORT NETWORKS hire, student footfall, paid consultancy Support within the political, cultural and opportunities, student skills and labour, 38 SUMMARY: OUR VIEW 39

and exposure. A visible evidence base (in was a key motivation for MVT’s formation. licensing strategy in respect of live music for minority interests. As has been noted the form of case studies, reports, research Work should continue in this area to is potentially debilitating to the grassroots elsewhere, articulating the intrinsic value and testimonials) attesting to the positive establish the necessary structures for an venue circuit; licensing risks being (as opposed to instrumentalist value) of outcomes of these kinds of links may lead integrated, communicative and informed counterproductive if it stifles the working cultural experiences is challenging, not to increased engagement. Research is sector. Venues Day illustrated the progress environments of the very musicians whose least because of a lack of suitable ways of currently being undertaken at Birmingham already made in this regard by MVT, earnings it seeks to protect. UK Music’s measuring it, and can often descend into City University (Long et al., forthcoming) alongside other initiatives such as IVW, assertion that ‘innovative licensing can the ‘language of the ineffable’ (Behr et al., into the role of students in the local and has led directly to the formation of the create diversity’ (2014b) is salient here; 2014b). But this ineffability is arguably popular music economy, and our on-going Music Venues Alliance. Again, continental radical innovation in terms of how music at the core of cultural value, which is research focuses on these links from a skills European equivalents (such as Fedurock in is licensed is needed to account for and resistant to rational explanation and perspective. More is needed. France) might provide models for how (or protect the diverse and interdependent is felt instinctively. Arguments for the how not) to take this further. ecosystem of the music industry. Relieving intrinsic value of live popular music should IMPROVING THE EXPERIENCE the financial burden placed on a grassroots therefore resist pressure to explain why it FOR MUSICIANS LOBBYING FOR REVIEW OF circuit whose survival is at risk should, in is valuable; instead they should focus on Anecdotal reports from musician LICENSING AND REGULATION our view, be a priority within this. highlighting the experiences of audiences delegates at Venues Day depicted loveless The imbalances and ambiguities of and musicians that attest to its being relationships between bands and venues, in legislation, regulation and licensing were QUALITATIVE ARGUMENTS self-evidently valuable, even if that value contrast to their experiences of performing seen in these findings to exert substantial Policy and lobbying documents arguing for is hard to put into words. Case studies, outside the UK, where musicians were pressure on small music venues, in some the value of live music tend to be couched research reports, testimonials and other felt to be valued and respected. Our (the cases threatening their survival. In many in terms of economic growth and export forms of publicity will help here; this is an authors’) recent experiences of gigging cases legislation appears to be balanced potential. Within this rhetorical climate, area where the live music sector, the public and touring chime with this perspective. in favour of new building developments, the grassroots venue is seen entirely in and academia can work together to raise It is notable that the majority of the that are widely perceived as cultural its role as an incubator of talent for future awareness. suggestions made above (under Proposed vandalism. A review of such legislation is economic potential. These are important Next Steps) do not (necessarily) require urgently needed and should be lobbied for. and persuasive arguments, but they VENUE IDENTITY any direct financial investment, and thus International cases where the ‘Agent of risk reinforcing a value framework that Many of the issues highlighted in both the represent resource-light ways to change Change’ principle (whereby the instigators equates cultural value with economic panel discussions and the interviews were perceptions of the UK’s small venue of new developments must bear the contribution, and which glosses over related to how venues are perceived by circuit, but need to happen wholesale if responsibility of addressing noise issues the local ecologies that cultural spaces local communities and by society at large, they are to be noticed. Other measures, from existing venues) have been offered sustain and the contribution they make and in particular to a sense that the cultural such as providing modest refreshments as precedents for its implementation in to the UK’s cultural life. We believe that role and significance of music venues are and logistical support, would also help to the UK. These should, in our view, be more accompanying arguments are needed that not sufficiently acknowledged. Where bring the UK touring experience into line widely publicised. present venues as intrinsically valuable the term ‘arts centre’ evokes impressions with better continental European ones. spaces. A key aspect of this is recognising of community engagement, cultural The Music Venues Alliance, UK Music and In their 2014 Public Policy that a great deal of the music that passes value and gentility, ‘music venue’ carries other representative/stakeholder bodies Recommendations for the sustainable through the small venues circuit is not associations of anti-social behaviour, noise might consider commissioning a task growth of the UK music industry, UK Music made in pursuit of mainstream commercial and nuisance. Yet as this report amply force to undertake a consultation exercise, call for a strengthening of the copyright success - and is unlikely ever to achieve evidences, music venues are hubs that comparing approaches in Europe and the framework to safeguard the earnings of it - but is performed for its own sake, and respond to the needs of local communities, UK and identifying best practice. songwriters and musicians (2014b). While for the enjoyment of the audiences it providing programmes of cultural events we support this in broad terms, we feel attracts. The value for such music cannot and space for community activities. We FORMAL REPRESENTATION the discussion surrounding intellectual and should not be rationalised in economic feel that the cultural and social role played A lack of collective representation was property needs to give space to concerns terms, but in terms of its contribution to a by music venues needs to be better highlighted during Venues Day, and indeed expressed in this study that the current rich, diverse cultural landscape that caters publicised, to effect a shift in perception 40 SUMMARY: OUR VIEW 41

away from local nuisance to community invigorate the grassroots of the music that our music industry is a vital asset that in London can seem alarmingly misplaced. asset. In an age of television programming industry, yet voices in this report and has weathered the economic downturn This has nothing to do with the high/ where allotment gardening, highway elsewhere suggest that it has in some cases better than almost any other industry. low culture debate and everything to do policing and choral singing all form the dissipated audiences (and thus trade), Yet this triumphalism glosses over the far with the distribution of already scant arts bases of television series, is there not space given rise to amateurism and ultimately less encouraging picture of a grassroots funding. While the UK would surely benefit for a documentary series focussing on the lowered the aggregate quality of live music in crisis. Focus thus far has been given to economically and culturally from such a day-to-day existence of a music venue? provision. Perhaps the most difficult aspect strengthening the intellectual property project, at this point in time investing such of venue identity therefore relates to how framework to ensure revenue from each a huge sum of money on a single, localised Other questions relating to venue identity venues can differentiate themselves from commercial asset (UK Music 2014a; project in the country’s wealthiest and best- are less straightforward. For example, how other spaces that programme live music. As 2014b), but little formal consideration resourced region, when so many cherished can music venues achieve a better public our survey responses indicate, many spaces has been given to the live performance nationwide cultural spaces are in a state of image in mainstream society without that present themselves primarily as music infrastructure that this report suggests is disrepair, is surely untenable. To sustain UK compromising their (in many cases) venues also operate as (for example) almost running on empty. If, as is frequently music economically, culturally and socially, countercultural aesthetic? Venues should pubs, cafes and restaurants, and are thus asserted, small venues play an essential investment must be driven towards the not be expected to adopt an art centre no different in legal terms from those they role in the development of globally grassroots. aesthetic in order to be valued in the same seek to differentiate themselves from. successful artists, and thus in our global way as arts centres; this could risk their Differentiation must therefore be based export economy, then the business logic TOM PARKINSON unique character being destroyed, bringing on criteria of quality and identity. Factors for the music industry investing in them is MARK HUNTER about their cultural demise by the back that were seen to set good music venues clear. Sustainable models for channeling KIMBERLY CAMPANELLO door. Responding to this issue will require apart from bad ones were the emphasis investment from the upper echelons of MIKE DINES the striking of a delicate balance, involving placed on the quality of the musical the music industry into the grassroots GARETH DYLAN SMITH compromise but not capitulation. experience, the cultural identity of the circuit should be devised and implemented Institute of Contemporary venue, the professionalism of the staff and without delay. Music Performance Balance and compromise are also its treatment of customers. It would seem needed in responding to the question of essential therefore that in going forward, Justification for public funding can also branding. Jehnny Beth’s vignette about the Music Venues Alliance should formalise be made on the basis of venues’ cultural musicians performing ‘in front of a Red a set of benchmark criteria against which and social roles, as discussed above. Bull sign’ highlights that popular music membership applications would be Highlighting both the level of venues’ has an extremely complex relationship assessed. This would ensure a consistency community engagement and their often with consumer culture; its infrastructure of ethos, values and mission among its perilous financial situations should and artists are dependent on commerce members, which its proposed kite mark provoke the state to intervene and invest. for survival, yet the overt presence of big would come to signify. It could also form High profile advocates, as discussed business can feel exploitative and can erode the basis of ‘good standing’ expectations earlier, would surely help in this regard. the sense of authenticity that motivates within the Alliance, and inform the review This is particularly timely given that musicians, engages audiences and of funding applications. The suggestions celebrity advocacy is currently buoying sustains scenes. Branding and sponsorship made during Venues Day (summarised in other potentially conflicting proposals undoubtedly provide opportunities and the bullet points above under Proposed for cultural funding. Indeed, considered support for small venues, but care must be Next Steps) provide a starting point for the against the long-standing level of material taken that the unique identities of venues, development of such criteria. dilapidation across the UK’s small music and the artistic output of the musicians who venues, and the potential improvement perform there, are not compromised. INVESTMENT that relatively modest levels of investment Reports outlining the contribution of could bring about, proposals such as those The Live Music Act 2012 has been hailed music, and live music specifically, to the UK made recently by Sir Simon Rattle for a as legislation that will strengthen and economy (e.g. UK Music 2014a) illustrate new £200 million orchestral concert hall 42 SUMMARY: ACKNOWLEDGEMENTS 43 acknowledgements

We would like to thank all of the participants of this study for their time and insight. Your contributions to the discussion surrounding the future of the UK’s small venues are vital in illuminating the challenges faced by the sector, and the dedication of those who work within it. 44 45

appendices

REFERENCES APPENDIX I APPENDIX II APPENDIX III 46 APPENDICES: REFERENCES 47 references

Behr, A., Brennan, M. and Cloonan, M. (2014a) The cultural value of live music from the pub to the stadium: Getting beyond the numbers. University of Edinburgh and University of Glasgow.

Behr, A., Brennan, M. and Cloonan, M. (2014b) Cultural value and cultural policy: some evidence from the world of live music. International Journal of Cultural Policy, DOI: 10.1080/10286632.2014.987668

Beth, J. (2014, December 18) Show us the money: how the music industry can save the UK's small venues. The Guardian

Gordon, A. (2012) Building recording studios while bradford burned: DIY Punk ethics in a field of force. In Z. Furness (Ed.). Punkademics: The Basement Show in the Ivory Tower, New York, NY: Minor Compositions, 104–124.

Smith, G.D. and Gillet, A. (2015) Creativities, Innovation and Networks in Garage Punk Rock: A Case Study of the Eruptörs. Artivate: A Journal of Entrepreneurship in the Arts 4 (1), 9–24.

Thomas, D.R (2006) A general inductive approach for analyzing qualitative evaluation data. American Journal of Evaluation, 27 (2), 237-246.

UK Music (2014a) Measuring music.

UK Music (2014b) Public policy recommendations for the sustainable growth of the UK music industry.

UK Music (2013) The Rocktober report. The live music act: One year on. 48 49

VENUE CHARACTERISTICS appendix i Venue type

SURVEY SUMMARIES Dedicated Music Venue Dedicated Music VenuePub

Pub Arts Centre

Arts Centre Community Centre

Community Centre Social Club

Social Club 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

How long have you been operating as a live music venue?

Less than 1 Year

Less than 1 Year 1-5 Years

1-5 Years 5-10 Years

5-10 Years 10-15 Years

10-15 Years 15-20 years

15-20 years 20-25 Years

20-25 Years 25-30 Years

25-30 Years 30-35 Years

30-35 Years 35-40 Years

35-40 Years 40-45 Years

40-45 Years 45-50 Years

45-50 Years More than 50 Years More than 50 Years 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Business Group (please specify) Business Group Drinks(please Company specify) /Brewery Drinks Company /Brewery Individual

Individual Partnership

Partnership Local Authority

Local Authority 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Dedicated Music Venue

Pub

Arts Centre

Community Centre

Social Club

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Less than 1 Year

1-5 Years

5-10 Years

10-15 Years

15-20 years

20-25 Years

25-30 Years

30-35 Years

35-40 Years

40-45 Years

50 45-50 Years APPENDIX I: SURVEY SUMMARIES 51

More than 50 Years

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% VENUE CHARACTERISTICS <100 CAPACITY AND FACILITIES Who owns the venue? 100 - 200 What is your venue’s capacity?

200 - 300 Business Group <100 (please specify) 300 - 400 Drinks Company 100 - 200 /Brewery 400+ 200 - 300 Individual 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 300 - 400 Partnership

400+ Local Authority

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Is your venue tied to a contract with a brewery? Do you have disabled access?

Yes Yes

No No

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Yes

No

If you lease the building, what sort of tenancy agreement do you have? 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% (78 responses)

Fixed-term tenancy

Renewable tenancy

Short-term leasehold

Long-term leasehold

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 52 APPENDIX I: SURVEY SUMMARIES 53

CAPACITY AND FACILITIES PROMOTION AND PROGRAMMING

Rehearsal rooms Rehearsal rooms Which of the following ancillary services do you provide? Which of the following do you have?

Recording studio Recording studio Rehearsal rooms Cafe In-house promoter Cafe Recording studio 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% In-houseExternal promoter 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Cafe External promoter0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% In-house promoter 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% External promoter

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Do you hire out the venue? Yes Do you have backline? YesNo

No0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Yes Yes Yes 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% No No No Yes 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Original music No OriginalCovers music acts Acts programmed 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Covers actsDJs Original music

If so, do you hire it out for use off the premises? KaraokeDJs Covers acts

ComedyKaraoke Yes DJs Yes ComedyTheatre No Karaoke No Yes Theatre 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Dance 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Comedy

No Dance0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Theatre 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Dance

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 54 APPENDIX I: SURVEY SUMMARIES 55

PROMOTION AND PROGRAMMING LICENCING AND GUIDELINES Which genres of music do you programme? Do you have a PRS licence?

African Yes

Afrobeat No Yes Americana 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% No Alternative Rock Yes

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Blues No

Caribbean 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Yes Do you have a PPL licence? Country No Country Blues Yes 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% No Country Rock Yes

Dance No 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Electronic 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Yes Experimental No Do you operate to the Musicians’ Union Fair Play guidelines? Folk Yes 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Grime No Yes

Heavy Metal No 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%

Hip Hop 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% Indie Rock

Jazz

Latin American

Low fi

Pop

Psychedelic

Punk

R&B

Reggae

Ska

0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% 56 57 appendix ii venues day 2014 VENUES DAY 2014 PURCELL ROOM, SOUTHBANK CENTRE, LONDON schedule Tuesday 9th December 12.00 - 13.00 REGISTRATION / BUFFET LUNCH AND NETWORKING SESSION We will be serving a sandwich lunch with soft drinks to greet you upon your arrival

13.00 INTRODUCTION (PURCELL ROOM) Housekeeping, introduction to the day and survey feedback Music Venue Trust Independent Venue Week Southbank Centre ICMP

13.30 DROWNED IN SOUND PRESENTS MAKING GOOD VENUES GREAT (PURCELL ROOM) What makes a good venue into a great venue? What could Chair: venues do more of to increase their value to music fans and Sean Adams - Drowned in Sound to musicians? How do we reach new audiences and talk to Panellists: the industry better? Horace Trubridge - Musicians' Union Suzanne Bull MBE - Attitude is Everything Sybil Bell - MVT/IVW Mike Weatherley MP - Rock the House Steve Tilley - Kilimanjaro Live/ Sugarmill, Stoke Jehnny Beth - Musician, Savages

14.30 NOISE VS. NUISANCE (PURCELL ROOM) What are the factors that can make your music noise a nuisance and how can you manage it? Do we need an Chair: Agent of Change principle? Kerry McCarthy MP Panellists: Lisa Lavia - Noise Abatement Society Howard Price - Chartered Institute of Environmental Health Dom Frazer - The Boileroom Niall Forde - Islington Council Andrew Jarvis (Moderator - Acoustics) Jeremy Mills (Moderator - Legal compliance) 58 59

VENUES DAY 2014 Tuesday 9th December

15.30 - 16.45 NETWORKING/IDEAS LAB/MARKETPLACE 17.45 WRAP UP (PURCELL ROOM) /RESEARCH (FOYER) Closing remarks Afternoon tea & coffee with a chance to meet other venues, agents and ACE representatives, to hear new ideas for venues and to get your views heard. Talk to our research 18.00 DRINKS RECEPTION team, leave us an anonymous message and sound off in the Please join us for a celebration drink in the Purcell Room STEAM ROOM. foyer. Courtesy of our agency partners (CAA, CODA, ITB, The Agency, X Ray) and in association with Jack Daniels, Networking: Marketplace: Ideas Lab: Sailor Jerrys, Sunny Republic, Pistonhead, Asahi and with Meet ACE representatives, Initiatives for venues, further Innovative ideas for venues; the Point Blank Coldbrew Cocktail bar. other venues, grab five information from speakers, going green, going online, minutes with an agent find out about some of our how to network, generating (The Agency, ITB, CAA, partners. funding to support ourselves Coda, 13 Artists, Primary, and developing skills. Moneypenny) and a chance to meet other music industry and arts representatives.

16.45 MOVE ON UP - WHAT NEXT? What have we learned and what can key stakeholders do Chair: about it? Jane Beese - Southbank Centre Panellists: Geoff Meall - The Agency Jo Dipple - UK Music Ben Lane - Arts Council England Rob Challice -Coda Mark Davyd -Music Venue Trust John Robb - Louder Than War 60 61 appendix iii VENUES DAY 2014 DELEGATE LIST Abigail Whithair Amy Corcoran Barney Jeavons Caren Ashton-Penketh The Bull's Head, London Strongroom Bar & Kitchen, West End Centre, Aldershot Cambridge Junction London Adam Brooks Ben Coles Carl Gosling Ents 24 Andrew Ellis CAA The Social, London Merseyside Arts Foundation Adam Sherwin Ben Easton Carl Martin The Independent Andrew Jarvis Louder Than War cahm.uk WSP Group Adam Webb Ben Lane Carolyn Gray Attitude is Everything Andy Cuthbert Arts Council England, Blam MVT Graphic Designer Head of Music Adele Bailey Carrie Davies Plug, Sheffield Andy Dutton Ben Perry Half Moon Putney, The Dog and Whistle, The Railway, Winchester London Adrian Bell Hertford The Horn, St Albans Ben Wall Charles Raworth Andy Gunton Independent, Sunderland Bush Hall, London Aidan James Stevens The Stinger Musician Bethany Rose Charlotte Lavendar Andy Inglis BIMM The Soundhouse Leicester Aled Chivers 5000 The Louisiana, Bristol Beverley Whitrick Chiara Badiali Andy Malt Music Venue Trust / Julie's Bicycle Alex Cunningham CMU Venues Day Producer MP Chloe Alexander Andy Stewart Bex Majors Parliamentary Researcher Alex Gilbert The Fleece, Bristol CAA Academy Music Group Chloe Ward Angus Baskerville Bob Allan Independent Venue Week Alex Mann 13 Artists Generator Musicians' Union Chris Bye Anita Randall Brent Smith Arts Council England, Alice Cantillon Ings MVT Event Assistant Sunny Republic North region Live UK Anthony Chalmers Bruce Mendes Chris Childs Alx Leeks Corsica Studios, London BIMM Sticky Mike's Frog Bar, MVT Event Assistant Brighton Archie Carmichael Caffy St Luce Amanda Betts Live UK The Zine Chris Cobain The Joiners, Southampton The Georgian Theatre, Auro Foxcroft Cameron Kellow Stockton-on-Tees Village Underground, ICMP London 62 APPENDIX III: VENUES DAY 2014 DELEGATE LIST 63

Chris Prosser Darren Weale David Whittall Evelyn Patrick Gordon Masson Helienne Lindvall James Hanley Jeremy Pritchard Music Venue Trust Blues Matters Magazine Suki10c, Birmingham Tiki Bar and Grill, Plymouth IQ The Guardian Live UK Everything Everything / ILMC / IQ /Digital Music News Dave Bennett Dawn Noah Gareth Dylan Smith Graham Griffiths James Hanley Jessica McMillan Chris Sharp The Square, Harlow Attitude is Everything ICMP, Researcher Attitude is Everything Holly Simmons Audience UK The Wedding Present The Fleece, Bristol The Jericho Tavern, Oxford Dave Webster Delia Sparrow Gareth Ospina Graham McLean James Ketchell Jo Bennett Chris Thorpe Musicians' Union The Lexington, London Live UK Ents 24 Horace Trubridge The George Tavern, London Bush Hall, London Forum TV Musicians' Union David Ball Dion Mason Gary Prosser Greg Parmley James Smith Jo Dipple Chris Tyler CAA BIMM All Night Long Promotions ILMC Howard Price Hope & Anchor, London UK Music The Kazimier, Liverpool Chartered Institute of David Butler Dominique Frazer Gavin Sharp Greg Phizacklea Environmental Health James Vince Jo Foster Claire Baker The Tin at The Coal Vaults, The Boileroom, Guildford Band on the Wall, Electric Ballroom, London Live in the Living Room Ministry of Sound CODA Coventry Manchester Huey Walker Dorothy Levine Greg Poole Arts Council England, Jamie Ford Jo McAllen Claire Horseman David Gaydon UK Music Gawain Forster The Soundhouse Leicester London region The 1865, Southampton BIMM CODA The Roundhouse, London Band on the Wall, Ed Lilo Manchester Gudrun Getz Hugo Mintz Jamie Joslyn Joanna Ashmore Damien Fell David Gedge Birthdays, London Passing Clouds, London Southbank Centre Flairz Venue Bar, Hastings CODA Alfie Bird's, Birmingham The Wedding Present Gemma Broughton Elaine McGinty Southbank Centre Guto Brychan Ian Carrell Jamie-Lee Joe Edwards Dan Salter David Goodchild The Phoenix Cultural Clwb Ifor Bach, Cardiff Norwich Arts Centre Warlow Hobos Music Independent Venue Week Echoes and Dust The Cavern, Exeter Centre, Woking Gen Williams Venue, Bridgend BPI Hannah Dunn Ian Kelly Joe Vesayaporn Dan Saunderson David Manso Eliza Frost ICMP ICMP Jane Beese MusicGlue The Agency Notting Hill Arts Club, Spindle Magazine Genevieve Pace Southbank Centre, Head of London Creative United Hannah Morgan Jacob Adams Contemporary Music John Denham Daniel Brine Ella Cullinan Echoes and Dust Attitude is Everything MP Cambridge Junction David Messer BIMM Geoff Meall Janet Farmer Dingwalls, London The Agency Hansi Koppe Jak McNally Pocklington Arts Centre, John Robb Daniel Smith Ellie Bothwell The Horn, St Albans ICMP York Louder Than War ICMP David Norris Publican's Morning Geoff Priestley The Roadmender, Advertiser The Wedgewood Rooms, Helen McGee Jamal Guthrie Jason Dormon Jonathan Robinson Danni Brownsill Northampton Portsmouth Academy Music Group The Waiting Room, London Music Venue Trust / MusicTank The Sugarmill, Emily Gray Tunbridge Wells Forum Stoke-on-Trent David Sterlin Southbank Centre Gideon Feldman Helen Tucker James Beck Jonathan Todd The Roadmender, Attitude is Everything Stage and Scene Insider KU BAR, Stockton-on-Tees Jehnny Beth UK Music Darren Nockles Northampton Emma Hogan Savages The Musician, Leicester ITB Gloria Elliott Helena Nial James Duffy Julia Payne David White Noise Abatement Society Chartered Institute of Pocklington Arts Centre, Jeremy Mills The Hub Darren Simons BIMM Emma Webster Environmental Health York Music Venue Trust / Mills The Victoria, Swindon The Music Inn, Oxford / Glyn Hughes Keep Ltd Live Music Exchange Clwb Ifor Bach, Cardiff 64 APPENDIX III: VENUES DAY 2014 DELEGATE LIST 65

Justine Fancy Kevin Searby Lisa Lavia Malory Holden Matt Lucas Neale Tidd Pasco-Q Kevlin Paul McManus Academy Music Group The Lincoln Imp, Noise Abatement Society The Agency Forum TV The Roadmender, Norwich Arts Centre Music Industries Scunthorpe Northampton Association Kat Head Liz Stokes Marcel Apfel Matt Newton Pat Pope BIMM Kieran Matthews Record of the Day Ministry of Sound BIMM Niall Forde Photographer Paul Michelmore BIMM Islington Council The Harrison Pub, London Kate Dansie Loretta De Feo Mark Bennett Max Moran Patrice Gerrard CODA Kimberly Campanello Sebright Arms, London The Agency The Lock Tavern, London Nicholas Brookes Southbank Centre Paul Osmond ICMP, Researcher PRS for Music The Union Bar, Hastings Kate Hewett Lou Percival Mark Davyd Mel Thornton Patrick Cunningham The Harley, Sheffield Knut Sellevold IQ Music Venue Trust / BIMM Nick Stewart Exeter Phoenix Paul Scaife Servant Jazz Quarters, Tunbridge Wells Forum Sneaky Pete's, Edinburgh Record of the Day Kate Mountain London Louise Kovacs Michael Kendal Patrick Dighton The Roadhouse, Academy Music Group Mark Hunter Independent, Sunderland Nicky Carder Tunbridge Wells Forum Pete Burridge Manchester Lais Martins-Waring ICMP, Researcher Electric Circus, Edinburgh Bedford Esquires Punktastic Lucas Polo Micky Sheehan Patrick McNaught Kate Walters ICMP Mark Morriss The Victoria Inn, Derby Nicola Holland BIMM Pete Lambrou St John at Hackney, London Laura Bradley Musician Skinny Kitten Events The Good Ship, London Sprout PR Lucy Dickins Mike Dines Paul Bonham Katharine Wallinger ITB Mark Randall ICMP, Researcher Nicola Muir Arts Council England, Phil Nelson The Wedding Present Lauren Sadler MVT Event Assistant Southbank Centre London region BIMM Southbank Centre Lucy Stone Mike Weatherley Kathryn Shackleton MVT Event Assistant Mark Roe MP Nigel Morton Paul Broadhurst Phil Simpson Watermill Jazz @ Friends Lee Gorton Forum TV Moneypenny Agency Senior Music Officer, Regent Music Life Social Club, Dorking The Roadhouse, Luke Davies Miles Jelfs Greater London Authority Manchester BIMM Martyn Solomon The Fleece, Bristol Nik Sharpe Phil Sisson Katrina Keen Sunny Republic The Cookie, Leicester Paul Burrows Strongroom Bar & Kitchen, BIMM Liam Baker Luke Hinton Natali Shaked Musicians' Union London Moles, Bath Cheri's Bar, Hemel Mat Ong ICMP Nina Rubesa Katy Oliver Hempstead / Juicebox Surya, London ICMP Paul Curry Phyllis Belezos New Cross Inn, London Liam Keightley Natalie Lee Harveys at The Horseshoes, ITB ITB Luke Streeter Matt Booth The Roadmender, Oliver Carruthers Luton Keith Miller BIMM Sidmouth Drill Hall Hub Northampton Rich Mix, London Rachel Hunter Shacklewell Arms, London Liam Naughton Paul Hooper Noise Abatement Society The Kazimier, Liverpool Lydia Stockbridge Matt Hanner Natasha Stevens Olivia Sime The 1865, Southampton Kelly Wood The Boileroom, Guildford CODA Musician ITB Rachel Porter Musicians' Union Liam O'Brien Paul Jackson Southbank Centre The Haunt, Brighton M.E. Gasson Matt Harquail Nathan Clark Ollie Daniels New Adelphi Club, Hull Kerry McCarthy Gigantic Tickets Forum TV Brudenell Social Club, Leeds BIMM Ray Jones MP Lianne Jarrett Paul Lilley Time Out Noise Abatement Society Makeila Estelle Matt Lott Nathan Jones Orla Hannon 100 Club, London Kevin Grist ICMP ICMP Buffalo Bar, Cardiff MVT Event Assistant Rebecca McGuire Arts Council England, Liliana Mecedes Darkwa BIMM South East region ICMP 66 APPENDIX III: VENUES DAY 2014 DELEGATE LIST 67

Rebecca Walker Russ Callaghan-Grooms Serena Robb Susan Thornhill Tony Moore The Leadmill, Sheffield MVT Event Assistant BIMM The Troubadour, London The Bedford, London

Reo Imeson Russell Deeks Shanice Lucas Suzanne Bull MBE Vez Hoper Independent Venue Week Songwriting Magazine BIMM Attitude is Everything The Cellar, Oxford

Richard Littman Ruth Barnes Simon Roberts Sybil Bell Victor Redwood Mermaid Theatre, London Amazing Radio Ticketmaster Independent Venue Week / Sawyer Arts Council Music Venue Trust England, London region Richard Simm Sagal Yusuf Stephanie Allen Tunbridge Wells Forum BIMM Creative United Tara Odev Vinesh Patel BIMM The Agency Richard Watson Sam Sutherland Steve Bines Library, Leeds ICMP The Moon Club, Cardiff Tim Arnold Vreti Brew Musician Koshal The Roadmender, Rick Finlay Samantha Dabb Steve McCabe Northampton Musicians' Union Le Pub, Newport MP Tim Clement-Jones CBE House of Lords Zoe Hinks Ricky Bates Samantha Porter Steve Parker The Roadhouse, The Joiners, Southampton Coronet Theatre, London Live UK Tim Perry Birmingham Windmill Brixton, London Rob Challice Sarah Morgan Steve Syles CODA The Tin at The Coal Vaults, The Horn, St Albans Tom Kiehl Coventry UK Music Rob Toogood Steve Tilley Fuel Rock Club, Cardiff Sarah Thirtle The Sugarmill, Stoke-on- Tom Madicott Creative United Trent / Kilimanjaro Live Moles, Bath Robert Hicks Ironworks, Inverness Sean Adams Steve Zapp Tom Martin Drowned in Sound ITB The Tower of Song, Robert Tinkler Birmingham Cambridge Junction Sean Hitchings Stewart Baxter 93 Feet East, London New Adelphi Club, Hull Tom Parkinson Rosie Arnold ICMP, Researcher Norwich Arts Centre Sean Morgan Stuart Lyon Academy Music Group Moneypenny Agency Tom Taaffe Ross Allmark The Agency The Old Blue Last, London Segun Lee-French Stuart Palmer Arts Council England, BIMM Tony Gleed Ross Warnock Midlands region The Dublin Castle, London The Agency Sukie Smith Serena Kutchinsky Amazing Radio Tony Graffiti Rupert Leigh Prospect The Roadhouse, Pop Shop Agency Birmingham 68