UK culture minister Chris Bryant says the live business had made “substantial progress” on a voluntary ticket levy and ruled out the need for government intervention at this stage.

Bryant provided an update to MPs at a meeting of the Culture Media and Sport Committee in parliament this morning (13 May).

The session, which examined the progress made to bolster the grassroots music sector in the UK, heard from a host of industry figures including LIVE CEO Jon Collins, Music Venue Trust (MVT) chief Mark Davyd, AEG Presents UK boss Steve Homer, Featured Artists Coalition (FAC) CEO David Martin, the National Arenas Association’s Nancy Skipper and Marit Berning of the Music Managers Forum (MMF).

UK trade body LIVE announced last month that its LIVE Trust has garnered over £500,000 (€587k) in pledges since its launch in January. The Trust receives funding from a voluntary contribution of £1 per ticket from arena and stadium shows with a capacity of over 5,000, with the funds going to support the grassroots ecosystem.

Artists including Pulp, Diana Ross, Mumford and Sons and Hans Zimmer have pledged ticket contributions from their UK tours.

While Bryant told CMS chair Caroline Dinenage that he’d “prefer us to have achieved a lot more by now”, he added: “We hoped to make substantial progress by the first quarter of 2025 and we have made substantial progress. 

“We’ve said that we want it to be a voluntary levy because it’s quicker to achieve – anything that has to require statute takes forever and a day. I don’t know when the next King’s Speech is going to be, so I don’t know when we would be able to legislate.”

“We’re very clear that we would [implement legislation] if this weren’t to be proceeding – but it is proceeding”

He added: “We’re very clear that we would [implement legislation] if this weren’t to be proceeding – but it is proceeding. We’ve got to where I hope we would get to by now. I’d like us to go a bit faster over the next phase. I’d like more people to sign up. I understand that obviously lots of people who are performing now came to their arrangements 18 months, two years ago, about their tour, but there are lots of people who are thinking about touring now.”

The Labour MP and LIVE jointly wrote to CMS ahead of the evidence session, reporting that the industry had made “tangible progress” since the government backed the levy in its response to the committee’s report last November, albeit, they recognised there was “further to go to deliver widespread levy adoption and distribution of funds through the LIVE Trust”.

“By now, if we’d not been able to write to you jointly yesterday to say where we’d got to, I would have been very cross, and I would be saying, ‘Right, well, I’m looking at legislation, can we start drafting it?'” said Bryant. “But we’ve not got there, and I’m very optimistic that this is going to work. I think it’s been a good idea. I think there’s lots of goodwill behind it in the industry, and I think a lot of artists and their management companies will sign up in fairly short order.”

Bryant added that there were “some things that we’ve still got to overcome”, including getting the charity “completely up and running, because it’s not just about the money coming in, it’s about the money going out”.

“But honestly, I have been impressed by how we’re getting there,” he said. “Are there people who could do a bit more? I think Live Nation might want to step up a bit more. They’re a very, very big player in this world… But I just want everybody who’s considering a big tour in the UK in the next year or so to sign up, and then I think we’ll have millions of pounds going to smaller grassroots venues.”

Asked if receiving £1 million in pledges was a realistic goal for the Trust before the end of 2025, Bryant replied: “I’d prefer to see more than a million by the end of the year, partly because I want to see more tours happening in the UK.

“I hope that some money might be going out before the end of the year, but I don’t want to hurry them so fast that the Trust ends up losing trust, if you see what I mean, because I think that that will be counterproductive in the in the long term.”

“It places a burden on artists… They’re either criticised for potentially increasing ticket prices or they’re criticised for not supporting the grassroots”

Earlier in the two and a half hour meeting, MVT chief Davyd lamented that “too many people in the industry” saw the levy as some sort of charitable donation.

“It’s not charitable, it’s simple R&D,” he said. “And the way the music industry is conducted now, we don’t have enough commitment to R&D in the live side… Other countries are getting this right.”

Martin, meanwhile, said the FAC, which penned a joint open letter with the MMF last year calling for a blanket ticket levy, believed “what we have right now is a system of artist-led donations, not a levy”. He noted that “about 8%” of UK shows above 5,000-cap that had gone on sale since November had implemented a donation.

“The problem we have with an artist-led system of donations is two-fold,” he said. “It’s unpredictable, and we don’t have the right amount. We don’t have the maximum amount of money coming in to support the grassroots, but additionally, it places a burden on artists… They’re either criticised for potentially increasing ticket prices or they’re criticised for not supporting the grassroots.”

Speaking after the session, MMF CEO Annabella Coldrick said an “incredible” amount of work had gone on behind the scenes to get the LIVE Trust up and running.

“But now that it’s operational, and with distribution mechanisms like the FAC’s UK Artist Touring fund – backed by the MMF – being developed in parallel, it’s imperative that the entire industry can come together quickly and ramp up the investment into grassroots touring,” she said. “If that momentum can’t be achieved on a voluntary basis, then we urge the government to legislate and make the contribution mandatory.”

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The Featured Artists Coalition (FAC) has established a UK Artist Touring (UKAT) Fund to distribute artist-allocated revenues collected by the recently-launched LIVE Trust.

Developed in partnership with the Music Managers Forum (MMF) and Musicians’ Union (MU), the UKAT Fund will allow acts to apply for financial support for grassroots shows, helping to reconcile and bridge short-falls in touring budgets.

Additionally, it will be open to receive one-off donations and commercial support for those who wish to invest directly in UK talent.

“The FAC has established the UKAT Fund in preparation for when the LIVE Trust becomes operational and starts to distribute revenue from the incoming ticket contributions,” says FAC CEO David Martin. “It will ensure that any funding allocated for grassroots artists can be distributed in the most effective, transparent and efficient way possible. By helping keep shows on the road, our three fundamental aims are to support artist development, boost audience engagement and help sustain the wider live music supply chain.”

Launched earlier this month, the LIVE Trust charity is designed to channel funds raised via arena and stadium tours to support the grassroots ecosystem. It will initially receive its funding from a voluntary contribution of £1 per ticket from arena and stadium shows with a capacity of over 5,000.

“The FAC’s new UKAT Fund will act as an essential part of the LIVE Trust distribution process”

The UKAT Fund will connect directly to the LIVE Trust, and act as a vehicle to receive and distribute donations to artists, amid a recent survey of 1,500 independent artists by Ditto Music where 84% of UK-based respondents said they could not currently afford to tour.

“The MMF is very excited to be backing the FAC’s fund to directly support grassroots artist touring,” says MMF CEO Annabella Coldrick. “So many artists and their managers work unpaid on loss-making tours for many years in the hope of growing a fanbase, developing their live performance and creating long term careers. They are having to make tough financial decisions to make ends meet, and in many cases artists play many fewer dates than they would like around the UK due to the upfront costs of touring.

“The FAC’s new UKAT Fund will act as an essential part of the LIVE Trust distribution process so that managers have an open and transparent mechanism in which to apply for touring support on behalf of their artists and ensure everyone is fairly paid for their work on these tours. We look forward to the fund being operational in the coming weeks and months as it is so urgently needed.”

MU general secretary Naomi Pohl adds: “We are delighted to partner with the FAC to ensure that touring artists, and the backing musicians who perform with them, are funded to do what they do best. The past five years have been extremely difficult for musicians due to Covid and the rising cost of touring, both within the UK and overseas.

“We want to make sure there is clear and transparent access to support, not only for those who book and platform artists, but for artists themselves and the huge teams they employ.”

“Momentum is building behind the LIVE Trust, and we would encourage all who are involved in arena and stadia shows to offer their support”

Jon Collins, CEO of trade body LIVE, has also given his reaction to the plans.

“Addressing the crisis in grassroots music requires all parts of the UK live music industry to play their part in generating funds, identifying solutions, and driving support to those who need it most,” he says. “As LIVE board members, we already work closely with FAC, MMF and the MU and we look forward to learning more about the UKAT Fund as plans are put in place.

“Momentum is building behind the LIVE Trust, and we would encourage all who are involved in arena and stadia shows to offer their support. Funds generated will be passed through to expert programmes such as this to maximise impact and accelerate their excellent work.”

IQ reported last month that the UK live music industry was edging towards a deal which would see more stadium and arena tours agree to include a contribution towards grassroots support after a ministerial roundtable meeting with culture minister Chris Bryant.

The government previously implored the live industry to introduce a voluntary ticket levy to support the grassroots music sector in its response to the Culture, Media and Sport (CMS) Select Committee’s report.

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Following a meeting with the government, IQ understands the UK live music industry is edging towards a deal which would see more stadium and arena tours agree to include a contribution towards grassroots support.

Yesterday’s ministerial roundtable meeting with culture minister Chris Bryant MP followed the government’s plea to the live industry to introduce a voluntary ticket levy to support the grassroots music sector in its response to the Culture, Media and Sport (CMS) Select Committee’s report.

As well as key industry representative bodies, senior figures from some of the UK’s leading promoters were in attendance, including Live Nation, AEG, SJM and Kilimanjaro Live.

“The first roundtable with the minister was the culmination of a lot of hard work by the live music sector,” said LIVE CEO Jon Collins. “Our focus now is to continue to work together to put in place a robust plan for the newly launched LIVE trust and to accelerate the process of directing much needed funding to the grassroots music sector. It was heartening to hear the minister once again endorse the government’s desire to support grassroots venues, festivals, artists and promoters.”

Music Venue Trust (MVT) founder and CEO Mark Davyd also struck an upbeat tone in the wake of yesterday’s discussion.

“We want to thank the LIVE team for all the hard work to reach a consensus on pushing ahead with the much discussed grassroots contribution from every arena and stadium ticket sold,” he said. “The meeting with minister for culture Chris Bryant was a great example of the whole ecosystem pulling together to create an outcome that, ultimately, benefits all of us working in the live industry and everyone who loves live music.”

The current direction of travel stops short of the ‘levy’ called for in various industry campaigns and focuses instead on close collaboration ahead of tours, aimed at significantly increasing the number of projects that include grassroots support.

“A grassroots music fund cannot be dependent on voluntary artist donations“

However, the Featured Artists Coalition (FAC) is maintaining its call for a blanket ticket levy, having previously set out its stance in its joint open letter with the Musicians’ Union in October.

“I’d like to thank minister for culture, Chris Bryant, for engaging with the sector on the grassroots music levy,” FAC CEO David Martin tells IQ. “Whilst it’s clear that there are different perspectives within the industry on how to tackle the crisis, the minister has tasked industry representatives with demonstrating they can collectively introduce a £1 levy from large arena and stadium shows, to support grassroots artists, promoters and venues, with the objective that this approach will become blanket across all shows.

“The critical word here is levy. A grassroots music fund cannot be dependent on voluntary artist donations.  Such an opt-in ad hoc system would create uncertainty and the potential for an uneven playing field for UK artists on British soil. Furthermore, it places the burden of decision-making on individual artists rather than sharing it across the industry.

“However, we welcome the attempts to try to progress the situation. We are also pleased that the whole sector has agreed that funds distributed to artists should be equivalent to those distributed to venues, in order to stimulate vital performances and industry growth.”

Bryant said earlier this month that the government wants to see ‘tangible progress’ by the first quarter of next year to meet the timeline of increased grassroots support coming in as soon as possible for concerts in 2025. While IQ understands that the minster expressed his understanding that with many 2025 tours now announced it may take some time for new schemes to come onstream, he reiterated the threat of potential statutory action if insufficient progress is made.

MVT announced in November that it is teaming with live music advocate Save Our Scene to launch the Liveline Fund to handle donations to the grassroots ecosystem from companies, organisations and artists.

Frank Turner recently became the latest artist to donate £1 from every ticket sold for his upcoming UK tour to support local independent music venues, following similar pledges from acts such as Sam Fender, Katy Perry and Coldplay, who will donate 10% of proceeds from their 2025 stadium concerts in England to the MVT.

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Pet Shop Boys and their manager Angela Becker were honoured alongside a host of industry figures at the 2024 Artist & Manager Awards (AMAs).

The pop icons and Becker jointly picked up the Artist Manager Partnership Award at last night’s ceremony, held at London’s Bloomsbury Big Top, in recognition of their 16-year collaboration.

Describing her experience as a “rarified education”, Becker reflected on the duo’s “intelligence, passion and curiosity”, before offering words of advice to future generations of managers.

“Learning the language of your client’s hopes and fears will open doors to profound impact, ensuring your work echoes in the hearts of audiences long after,” she said. “I am continually elevated and inspired by the pursuit of new ways to communicate Pet Shop Boy’s vision. As Hans Christian Andersen says, ‘Where words fail, music speaks.’”

Organised by the Featured Artists Coalition (FAC) and Music Managers Forum (MMF) the AMAs were hosted by BBC Radio 1Xtra’s Remi Burgz.

Other winners included Chase & Status and their manager, Frame Artists co-founder Sophie Kennard, who received the Team of the Year award from their agent, UTA’s Obi Asika, and Sarah Wilson from TuneCore. The award followed a memorable year for the electronic music act, who headlined Creamfields, Boardmasters, TRNSMT and BBC Radio 1’s Big Weekend, as well as staging their own one-day show at Milton Keynes Bowl.

In addition, the Icon Award was presented to singer Paloma Faith by her long-time manager Innis Ferguson at Lateral Management.

“Sometimes it’s worth remembering that managers need support too”

Riverman Management founders Alex Weston and Dave McLean took the Managers’ Manager honour in tribute to their 35 years working in music. Originally making its name as a promoter, bringing US acts including Nirvana, Green Day, Pearl Jam and Soundgarden to the UK, Riverman switched to artist management and has represented Placebo since 1995.

Reflecting on the company’s successes and on the increased demands being placed on managers, Weston called for greater recognition and support of the role.

She said: “What other job on this planet requires us to have so much wide-ranging knowledge and so many skills and so much responsibility? And the most extraordinary thing of all is that, very often, certainly when we work with new artists, we don’t get paid anything at all to do this for years on end.

“But we do it because we are 100% committed and passionate about each of the artists we take on and truly believe, against all the odds, we can break them and their music! They are the future of our industry and put their faith and trust in us to help them achieve those ambitions. But, a note to our major labels, sometimes it’s worth remembering that managers need support too.”

There were also wins for Barry Can’t Swim (Breakthrough Artist), Hope James at Atlas Artists (Secret Weapon) and Victoria de Juniac of VictoriaBDJ Management (Breakthrough Manager).

Elsewhere, Sam Kelly and Ray Simpson from Cymande were presented with the Originator award, the 2024 Pioneer was awarded posthumously to producer and artist SOPHIE and the Fan Champion Award went to Yungblud, Tommas Arnby, Adam Wood and the wider team at Special Projects Music.

Finally, the awards for Writer/Producer Manager and Team Achievement recognised the work of Ant Hippsley and Croydon-based Finesse Foreva.

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Katy Perry has become the latest artist to pledge £1 from every ticket sold for her newly announced UK tour leg to the Music Venue Trust (MVT), as the business awaits the green light for the LIVE Trust.

The American pop star, who played her first UK shows at London’s 200-cap Water Rats and 1,145-cap Scala in 2008, becomes the first international act to follow the likes of Coldplay, Sam Fender and Enter Shikari by donating a percentage of tour proceeds to the organisation.

“I’m proud to donate £1 from every ticket on the UK leg of The Lifetimes Tour to Music Venue Trust so that venues like Water Rats and Scala, where I played my first UK shows, can continue to usher in the next generation of music talent” says CAA-represented Perry, who will play arenas across the UK in October 2025, promoted by AEG.

“We want to say a huge thank you to Katy and her team for stepping up to support grassroots music venues, artists and promoters,” adds MVT CEO Mark Davyd. “The contribution from these shows will keep venues open, get new and emerging artists out on tour, and enable promoters to bring the best in new music to our communities.”

Davyd tells IQ the charity’s mission extends to supporting the whole ecosystem at grassroots level.

“Whether it’s artists being able to tour or promoters being able to take risks or venues being able to be open, it all helps each other,” he says. “We have our own internal distribution of funding through which we have successfully distributed over £4 million in the last three years to artists, so we will continue to do that, but we imagine that as the financial support expands organisations like FAC, MMP, AIP, MU, etc will identify funding partners to distribute money for them or build mechanisms themselves.”

“A strategy that keeps venues afloat but bypasses the artists who perform on those stages will simply repeat the mistakes of the pandemic”

Last week, the UK government urged the live industry to introduce a voluntary ticket levy to support the grassroots music sector in its response to the Culture, Media and Sport (CMS) Committee’s report.

However, prior to that, the Featured Artists Coalition (FAC) and Musicians’ Union (MU) penned a joint open letter calling for a blanket ticket levy to share the cost of investing in the future of the UK live scene, insisting that “just supporting venues in itself will not save grassroots music”.

Speaking to IQ, FAC CEO David Martin stresses that the group was established to represent the UK’s artist community.

“We make no apology in campaigning for their interests, especially when artists are facing such massive shortfalls from the increased costs of touring,” he says. “Alleviating those pressures and encouraging more live activity is the only effective solution to the grassroots music crisis.

“A strategy that keeps venues afloat but bypasses the artists who perform on those stages will simply repeat the mistakes of the pandemic, with disastrous consequences for the wider live music business. While the generosity of individual artists in donating to MVT is commendable, it does not equate to a sustainable, transparent and long-term strategy to safeguard the sector’s future.”

The LIVE Trust, an industry-created charitable body which would collect and distribute funds, is currently in the process of being set up with the UK charity regulator. Martin says the FAC endorses the body as “a vehicle for collecting and distributing a blanket levy”.

“It is now imperative for the sector to unite in agreeing on a clear pathway to achieve this goal, fostering economic activity, live touring, and audience growth,” he adds.

“LIVE’s members are working to increase the profile of the Trust ahead of launch and include discussion as to its aims and objectives”

On that subject, LIVE CEO Jon Collins offers an update on the timeframe involved in setting up the trust.

“We have covered a lot of ground in the six months since the CMS Committee recommended an industry solution to the grassroots crisis, avoiding a much more intrusive statutory intervention,” he tells IQ. “Even with a packed industry summer and an election, we have been able to agree the aims, objectives, structure, funding approach, initial trustees and mid-term strategy for the trust.

“A lot of this work goes under the radar as we work on our formal submission to the Charity Commission. We feel we have now answered all the Commission’s questions and await the green light.”

Collins continues: “It is brilliant news that Katy Perry has opted to support grassroots music, and we hope she is the first of many international artists to do so alongside their UK counterparts. With the LIVE Trust in place, there will be another option for those wishing to support artists, venues, festivals, promoters and the other actors that contribute to our grassroots sector.

“LIVE’s members are working to increase the profile of the trust ahead of launch and include discussion as to its aims and objectives in relevant tour planning.”

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The Featured Artists Coalition (FAC) and Musicians’ Union (MU) have spoken to IQ after jointly penning an open letter calling for a blanket ticket levy to share the cost of investing in the future of the UK live scene.

In the midst of a “cost of touring crisis”, the government is expected to respond imminently to the Culture, Media and Sport (CMS) committee’s report on grassroots live music, published in May, which called for a process for an arena-level levy to safeguard grassroots venues to be put in place “before September 2024”.

But despite Coldplay pledging to donate 10% of proceeds from their 2025 UK stadium dates to the Music Venue Trust, and Sam Fender vowing that £1 from every ticket sold for his upcoming UK shows will go to the organisation, a levy is yet to come to pass.

The LIVE Trust, an industry-created charitable body which would collect and distribute funds, is currently in the process of being set up with the UK charity regulator.

As a result of the delay, FAC CEO David Martin, who gave evidence to the CMS committee alongside Lily Fontaine from Mercury Prize winners English Teacher, says he is “increasingly concerned about the direction of travel”.

“Today, we call on the government to help get this conversation back on track to deliver the £1 ticket levy that grassroots live music so desperately needs,” he says.

Moreover, the organisations insist that “just supporting venues in itself will not save grassroots music”.

“The entire ecosystem needs support, and especially the artists and musicians who perform on the stages in those venues,” says the letter. “This is how we will develop new artists and audiences, ensuring that it’s viable for artists to progress through the live sector – from grassroots venues to arenas.”

“We urgently need to see the introduction of a robust and sustainable funding mechanism, allowing artists to carry out tours without significant risk”

The FAC and MU argue the levy must be implemented on a blanket basis “so that the responsibility is shared across all of those that contribute to the live industry”.

“While it is remarkable that some artists have voluntarily come forward to offer individual support, this burden should not be placed at the door of individual, British artists on an ‘opt in’ basis,” they say. “This blanket approach will ensure a level playing field for UK artists and that the whole of the live sector shares the cost of investing in the future of live music in the UK.

“Unless we return to the consensus position of May 2024, where the entire grassroots sector can benefit from a ticket levy, we risk causing irreparable harm to British music. We are encouraging artists, fans and the wider industry to show their support for this open letter by signing our petition.”

Kelly Wood, head of live at the MU, adds: “If artists can’t rely upon a healthy and financially viable grassroots live sector, the industry as a whole suffers. We urgently need to see the introduction of a robust and sustainable funding mechanism, allowing artists to carry out tours without significant risk. Without this kind of support, we will lose artists from the music community, and the talent pipeline will be severely disrupted.”

Speaking to IQ, the pair explained what would happen if an artist declined to participate in the scheme, or preferred to support a cause of their choosing with a ticket add-on.

“We support a blanket, industry-wide levy to be implemented by the live sector in order to ensure that the whole ecosystem contributes”

“We support a blanket, industry-wide levy to be implemented by the live sector in order to ensure that the whole ecosystem contributes, and to avoid individual artists being burdened with the decision about opting in,” they say. “Where that can’t be agreed, we will campaign for a government intervention.

“Artists are of course free to support any cause that they wish, and already do. Additionally, there are already a number of fees and levies placed on tickets which are not voluntary and which artists have no say over the distribution of.”

Martin and Wood say a £1 levy, implemented on a blanket basis, would provide clarity on the collection mechanism, the amount and the purposes it is used to support, as well as ensuring it can be used to support the grassroots in its entirety.

“Furthermore, any Trust or body that is set up to distribute the level should have significant representation and expertise from the artist community, to ensure that the distribution of any levy is done in a manner that adequately supports grassroots artists,” they tell IQ.

The duo say they remain supportive of the creation of the LIVE Trust “as a vehicle for collecting and distributing a levy”, though the open letter expresses concern over the industry’s “ability to enact the mechanism voluntarily”.

“In its absence, donations made by arena-level artists won’t necessarily lead to direct funding opportunities for artists performing at grassroots level,” it concludes. “Therefore, we believe that the government should retain the option to intervene and implement a statutory levy. Our organisations will campaign to bring forward such steps if necessary.”

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UK-based charity Music Support is reportedly supporting a record number of live and music industry professionals, after seeing a 51% increase in calls to their helpline over the past year.

In a new survey, the organisation detailed challenges facing industry executives — including drug and alcohol problems, mental health issues, and suicidal thoughts — are up across the board, steadily increasing from last year’s report.

In addition to a steep increase in helpline calls, Music Support revealed that nearly half of respondents divulged mental health problems, rising from 40% last year.

More than one-fourth of respondents stated drug and/or alcohol problems, up from 19% in 2023, and 21% said they had suicidal thoughts in the past year, up from 18% last year.

“Whilst the increase in demand for our services is a concern, we are also encouraged that stigmas around mental health and problematic substance use are breaking down and people are more willing to reach out for help,” says CEO Joe Hastings.

Responses were collected from on- and off-stage individuals across Music Support’s Safe Hubs at summer festivals, a service it has offered since 2016.

“It’s vital that those who work in music know there is somewhere they can turn for their mental health”

Elsewhere, Music Minds Matter (MMM) announced its first batch of partners in the creation of Music Minds Matter Allies. The mental health-focused industry charity will work alongside the six organisations to help connect their networks to support, co-develop new resources, and facilitate connection and collaboration through communal events.

The first set of allies include the BIMM Music Institute, the British Phonographic Industry (BPI), the Featured Artist Coalition (FAC), the Music Managers Forum (MMF), the Musicians’ Union (MU), and We Are The Unheard (WATU).

“A life in music is full of uniting highs but sadly the hours, pace and passion can have an impact on wellbeing too,” says Sarah Woods, chief executive of Music Minds Matter and Help Musicians. “It’s vital that those who work in music know there is somewhere they can turn for their mental health and we want to ensure that messages spreads to all who need us.”

“With our Music Minds Matter Allies, we can work together to develop more supporting resources and reach so many more who need support, whether a venue booker, artist manager, festival owner, record producer or label accountant.

“Music Minds Matter is here for everyone working in music at any time and we’re so pleased to work with our Ally organisations to ensure that help and guidance reaches those in need now, or those who may need it in the future.”

“Having artists talk about their mental health struggles allows us to normalize the conversation around mental health”

This year alone, Music Minds Matter has supported over 3,300 people working in music, and research has shown that industry professionals are at a higher risk of experiencing depression and other mental health-related illnesses.

Those working in the music industry may be up to three times as likely to experience depression compared to the general public, a MMM survey revealed.

MMF chief executive Annabella Coldrick emphasised the importance of allyship for the industry: “Against a backdrop of cutbacks elsewhere in the music business, managers are under increasing pressure, shouldering a greater range of responsibilities and expected to deliver on multiple fronts. It can be an incredibly stressful and isolated role.

“Taking a more tailored approach that listens to the concerns of managers and provides them with bespoke mental health resources is, we feel, the best way to alleviate these challenges.”

In response to these challenges, Live Nation recently launched a “music meets meditation” app in collaboration with Mindful Nation. Created by Niamh McCarthy, former assistant manager to Madonna and U2, the app is purposed to help artists and professionals find balance in the rigours of touring.

“Having artists talk about their mental health struggles allows us to normalize the conversation around mental health and opens a space for others to also share their experiences and struggles with mental health, anxiety and depression,” McCarthy says.

“Creating boundaries for self-care can feel hard but ultimately helps not only the performer but the crew and those around them to also prioritize their needs creating for a happy and safer tour experience.”

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Live music industry leaders in the UK have played down a report that the European Union (EU) has ruled out easing post-Brexit restrictions on British touring acts.

Labour pledged to improve EU touring for UK artists by “tearing down unnecessary barriers to trade” as part of its manifesto prior to its landslide general election victory in July.

But according to internal documents seen by the Financial Times, Brussels says a deal to cut post-Brexit red tape compelling touring musicians to obtain cultural performance visas and transport permits is not possible, as it would require rewriting the EU-UK Trade and Cooperation Agreement (TCA).

Moreover, the European Commission – the executive arm of the EU – was “not prepared to consider” the necessary amendments to regulations on customs, road haulage and services.

“The briefings repeatedly warn of the need to ‘manage expectations’ in London, given [Prime Minister Keir] Starmer’s refusal to rejoin the EU single market, accept freedom of movement, or form a customs union with the bloc,” adds the report.

Insiders suggest the documents are a sign of pre-positioning from both sides as they prepare for negotiations, which cannot begin until a new commission is formed later this year. A senior EU official tells the FT it is open to compromise, adding: “We have a track record of finding solutions.”

“We welcome the renewed impetus from both sides to solve this issue, and recognise negotiations are needed to find a solution”

Jon Collins, CEO of UK trade body LIVE (Live music Industry Venues and Entertainment), remains hopeful an agreement can be reached.

“Venues, festivals, and artists across both the UK and EU are suffering under the current touring arrangements,” he says. “It is widely recognised that improvements to these touring rules are needed to bring major economic and cultural benefits to both European member states and the UK.

“We welcome the renewed impetus from both sides to solve this issue, and recognise negotiations are needed to find a solution. We agree with the EU Domestic Advisory Group’s view that the solution to touring problems could be delivered without the need to revise the Trade and Co-operation Agreement.”

The Music Managers Forum (MMF) and Featured Artists Coalition (FAC) established the #LetTheMusicMove umbrella campaign in June 2021 to galvanise the music industry’s work on the topic, calling for reductions in post-Brexit costs and red tape for UK artists and musicians when touring in Europe.

In a joint statement to IQ, MMF CEO Annabella Coldrick and FAC chief David Martin say the issue is of fundamental importance to their members.

“While this FT report raises concerns, I don’t think anyone was under any illusions that these challenges would be alleviated in the short term”

“Outside the UK, Europe has typically provided the next step up for artists and musicians looking to build a live touring career,” they said. “In 2019, it represented the largest overseas market for UK artists, four times bigger than the US. But given the increased costs they’re already shouldering to get live shows on the road, the additional burden of red tape and bureaucracy is potentially crippling for the next generation of British talent. It is vital we find a solution that allows cultural movement to flow more freely.

“While this FT report raises concerns, I don’t think anyone was under any illusions that these challenges would be alleviated in the short term. They are part of wider discussions around freedom of movement and other trading negotiations.

“Obviously, we need the UK government to be committed to finding solutions. They made a manifesto commitment to do this. With MPs returning to parliament this week, we are already in the process of reestablishing contact and pushing for urgent progress.”

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The last couple of months have seen artist boycotts ripple through the showcase festival season, with hundreds of acts pulling out of SXSW in Austin, and others from new music showcase festival The Great Escape (TGE) due to their sponsors’ ties to Israel.

More than 100 speakers and acts pulled out of March’s SXSW in protest of the Texas event’s sponsorship by the US Army and its support for Israel during the Gaza war. A similar number of acts were reported to have dropped out of the UK’s TGE due to its sponsorship by Barclays and its ties to Israel.

Now, attention is turning to other events, with campaign group Bands Boycott Barclays listing Isle of Wight and Latitude festivals – both of which are presented by Barclaycard – and Download as their “next festival targets”.

Last week, Pillow Queens became the first act to boycott this year’s Latitude. Posting on social media, the Irish rock band said: “As a band, we believe that artistic spaces should be able to exist without being funded by morally corrupt investors.”

A handful of acts that boycotted TGE – Picture Parlour, King Alessi, Nieve Ella, Mui Zyu – are also billed to perform at Latitude Festival. IQ reached out to the acts but none have commented.

“The impacts are going to be different for each and every artist, depending on their circumstances”

Like other acts before them, Pillow Queens referenced a May 2024 report by Palestine Solidarity Campaign (PSC) which details Barclay’s financial ties to companies producing weapons and military technology used in Israel’s attacks on Palestinians.

In response to the boycotts, Barclays have repeatedly pointed to their online Q&A which states: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”

Annabella Coldrick, CEO of Music Managers Forum (MMF) says it is not straightforward for an artist to pull out of a festival. “The impacts are going to be different for each and every artist, depending on their circumstances, she says. “With SXSW, there may have been funding agreements and contractual obligations to consider. There’s also the cost of getting to Austin and visas, which for an upcoming act can be considerable.”

Northern Irish artist Conchúr White, who boycotted SXSW, revealed that he “accepted a significant amount of money from PRS [for Music]” to perform at the festival.

“The financial implications for me, however, pale in comparison to the tragedies occurring in Gaza,” he continued. “I don’t want to align myself with weapon manufacturers.”
White added he will “try to be more mindful moving forward”.

“We would caution against people pressuring and making assumptions about the views of others”

Belfast band Kneecap also canceled their sets at SXSW “in solidarity with the people of Palestine” even though pulling out “would have a significant financial impact on the band”. But they said it wasn’t comparable to the “unimaginable suffering” in Gaza.

While there are a number of possible ramifications for bands boycotting festivals, artists choosing to stay on festival bills are also facing difficulties.

“There’s a lot of pressure coming from social media,” says Coldrick. “Plus you’ve got fans who may have paid to see you. Not every artist is political or feels confident enough or informed enough to express an opinion about what might be a complex global issue. Alternatively, artists may decide to play and use their platform to express their views in other ways.”

David Martin, CEO at Featured Artists Coalition (FAC), seconds that point, adding: “Music is an artistic expression, a vehicle through which to challenge political, social and financial structures. We support each artist’s freedom to take decisions about using their platform. It is up to individual artists to decide how they choose to demonstrate their views. The circumstances of such decisions will vary from artist to artist and show to show, and only those involved will be in a position to judge the best course of action. We would caution against people pressuring and making assumptions about the views of others.”

Pressure has also been directed towards the festivals to cut ties with sponsors linked to Israel. Massive Attack, Idles and Eno were among dozens of artists who were not booked to play at TGE but signed an open letter launched in April calling for it to drop Barclays as a partner.

The letter said the artists were “drawing inspiration” from Artists Against Apartheid. “A Barclays boycott was a key part of ending apartheid in South Africa, after thousands of people closed their accounts with Barclays to pressure them to withdraw investments from South Africa,” it reads.

“We are now looking closely at a festival’s sponsors in advance of confirming any appearance”

It’s yet to be seen how upcoming Barclays-sponsored festivals, which include the UK’s Camp Bestival and Summertime Ball, will respond to – or be impacted by – artists’ political interest in the Gaza-Israel war. Isle of Wight Festival declined to comment for this IQ story and Latitude Festival did not respond.

Denmark’s ENGAGE Festival is a recent example of an event that has dropped its sponsor amid controversy. The Copenhagen festival, organised by the Veterans Foundation, has asked its defence industry partners to withdraw as a sponsor following criticism and confusion from some.

“Some cannot distinguish between Danish veterans and current international conflicts,” a spokesperson for the festival said. “The Veterans Foundation does not support war and will never take a stance on international conflicts that does not align with the Danish government. We do not collaborate with organisations or companies that oppose this.”

Pressure on festivals to remove controversial sponsors is not limited to music; Hay literary festival last week dropped its principal sponsor – investment firm Baillie Gifford – after boycotts from speakers and performers over the firm’s links to Israel and fossil fuel companies.

Whether festivals change tact with sponsorships or not, one agent suggested to IQ that the recent furore may prompt more caution with booking.

“We support our artists in whatever choice they make,” they told IQ. “But we are now looking closely at a festival’s sponsors in advance of confirming any appearance.”

MMF’s Coldrick says such vigilance is business as usual in the record industry: “Clearly, if any artist is passionate about a particular cause or issue and that might have implications on the shows they play, then they need to make this known to their manager and agent. Those kinds of conversations are quite standard when it comes to sync or brand deals. Going forward, maybe they need to be standard in live music too.”

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The Culture, Media and Sport (CMS) Committee has backed calls for a new arena and stadium ticket levy, plus tax relief, to safeguard UK grassroots music venues (GMVs).

The recommendations feature in a new report from the cross-party committee, which launched the inquiry at the Music Venue Trust’s (MVT) Venues Day in October 2023 and heard about the “cost of touring crisis” facing the sector, against a backdrop of small venues closing at a rate of two per week.

It says that a voluntary levy on arena and stadium concert tickets – as lobbied for by the MVT – would be the most feasible way to have an immediate impact on the business, creating a support fund for venues, artists and promoters, administered by a trust led by a sector umbrella body, and is appealing for the industry to ensure the levy cost is not passed on to music fans. In addition, it is calling for a temporary VAT cut based on venue capacity.

The conclusions have been warmly welcomed by bodies including the MVT, along with trade bodies LIVE (Live music Industry Venues & Entertainment), UK Music, the Music Managers Forum (MMF) and Featured Artists Coalition (FAC).

“These recommendations provide a clear pathway forward to a positive future for the UK’s grassroots music venues, a set of actions that are deliverable, affordable, and will genuinely have a positive impact on live music in communities right across the country,” says MVT CEO Mark Davyd. “We look forward to working with the music industry and with the government to deliver on these recommendations as swiftly as possible.”

Davyd owns Tunbridge Wells Forum in Kent, which recently pledged to become the first venue in the UK to introduce a grassroots ticket levy. Throughout this month, £1 from every ticket sold will be donated to the Music Venue Trust’s (MVT) Pipeline Fund at no additional expense to customers.

The MVT has described 2023 as the most challenging year for the sector since the trust was founded in 2014, as the number of GMVs falling from 960 to 835.

“It’s clear that the committee has recognised the many challenges faced by venues, promoters, events and artists at the grassroots level, and the steps required to address them”

“We would like to thank all the thousands of music fans that have supported our work across the last 10 years,” adds Davyd. “It has taken much longer than any of us would have liked to get the positive change we all wanted to see, but we could not have achieved this fantastic outcome without your continued support for your local live music venue.”

If there is no agreement by September, or if it fails to collect enough income to support the sector, the report says the government should step in an introduce a statutory levy.

“It’s clear that the committee has recognised the many challenges faced by venues, promoters, events and artists at the grassroots level, and the steps required to address them,” says LIVE CEO Jon Collins. “LIVE set out to the committee the actions we believe that the government needs to take to help unleash the economic potential of the sector, such as a reduction in the damaging and uncompetitive rate of VAT on tickets, as well as the actions that sit with us as an industry, notably the creation of a charitable arm, the LIVE Trust.

“We are pleased that the committee’s report addresses both of these matters positively and has entrusted our sector to implement the industry-led solution of a voluntary levy on arena and stadium tickets, gathering and distributing funding that will benefit the whole grassroots music ecosystem. We look forward to working with government on the review of VAT and regularly updating on our progress on the LIVE Trust.”

“Grassroots music venues are a crucial part of the music industry’s ecosystem and have been faced with a series of unprecedented threats for a number of years,” adds UK Music interim chief executive Tom Kiehl. “We welcome the House of Commons CMS Committee taking the opportunity to consider the challenges these venues and the artists that tour in them face.”

Artists and managers previously spoke out in favour of the MVT’s calls for a compulsory £1 levy on tickets sold for UK live music events above 5,000-cap during evidence sessions held in March.

“As the organisations representing artists and managers, we wholeheartedly endorse all the committee’s recommendations,” says a joint statement by FAC CEO David Martin and MMF chief executive Annabella Coldrick. “Most important is their recognition of the ‘cost of touring crisis’, and that the benefits of a ticket levy must flow down to artists, managers, and independent promoters – as well as to grassroots music venues. The entire ecosystem needs support. While we still believe this mechanism should be mandatory, the clock is now ticking to get a process in place before September 2024.”

“The ongoing wave of closures is not just a disaster for music, performers and supporters in local communities up and down the country, but also puts at risk the entire live music ecosystem”

Among the report’s other recommendations are for the government and Arts Council to make it easier for the live music sector to apply for public funding and for stakeholders across the industry to continue to support the FAC’s campaign to end punitive fees on artists’ merchandise.

“We are also delighted to see the committee endorse the 100% Venues campaign, and hope this will trigger action from the UK’s largest live music venues to overhaul outdated practices on merchandise commissions,” continue Martin and Coldrick. “The sale of T-shirts, vinyl and other physical products represent a crucial income stream for artists. It is only fair that they should retain the bulk of that revenue.”

In closing, the report also calls for a comprehensive fan-led review to be set be set up this summer to examine the long-term challenges to the wider live music ecosystem.

“We are grateful to the many dedicated local venues who gave up their time to take part in our inquiry,” says Dame Caroline Dinenage MP, chair of the CMS Committee. “They delivered the message loud and clear that grassroots music venues are in crisis. The ongoing wave of closures is not just a disaster for music, performers and supporters in local communities up and down the country, but also puts at risk the entire live music ecosystem.

“If the grassroots, where musicians, technicians, tour managers and promoters hone their craft, are allowed to wither and die, the UK’s position as a music powerhouse faces a bleak future. To stem the overwhelming ongoing tide of closures, we urgently need a levy on arena and stadium concert tickets to fund financial support for the sector, alongside a VAT cut to help get more shows into venues.

“While the current focus is on the many grassroots music venues falling silent, those working in the live music sector across the board are also under extraordinary strain. It is time that the government brought together everyone with a stake in the industry’s success, including music fans, to address the long-term challenges and ensure live music can thrive into the future.”

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