Across the globe, in almost every town and city, hidden gems pulsate with the raw, unbridled energy of live music.

Often tucked away off the beaten track, these intimate spaces carry a profound significance that transcends mere bricks and mortar. They are sanctuaries where local music scenes breathe and evolve, providing a stage for emerging artists to share their stories – cultural beacons where community, authenticity, and resilience truly take precedence.

In an era of endless mass production, these venues stand as a testament to the enduring power of music and fans’ unwavering passion, where that intimate connection between artist and audience is not only appreciated but revered. They are the very lifeblood of musical culture. But such grassroots music venues are facing existential threats.

2023 was the toughest year yet for them, something that becomes crystal clear perusing news stories on the topic. “Brutal,” “A dire crisis,” and “Devasting” scream the headlines – and with, on average, more than one venue closing every week, the topic is now routinely reported on by the mainstream media.

In the UK, the perfect storm of Brexit, Covid, the cost-of-living crisis, inflation, and the knock-on effects of wars and global instability has pushed many venues to the brink; government intransigence and ignorance often impede even the most basic common-sense efforts to help.

“These are places that make people go out and that get people inspired”

Yet the fight for their survival is not without hope. Last year marked the tenth anniversary of the Music Venue Trust, a ground-breaking charity that does vital work developing solutions, lobbying for change, and ensuring the music industry, politicians, and the wider public remain cognisant of the seriousness of this issue. Their achievements over the last decade have been notable, with their work inspiring dozens of similar organisations and impassioned individuals the world over; progress, albeit slowly, is being made.

Reflecting on this milestone, though, and taking stock of where the fault lines lie in this battle, it remains clear that there is much to be done – and quickly – if catastrophe is to be avoided. “These are places that make people go out and that get people inspired,” MVT CEO Mark Davyd said on a trip to Parliament this time last year. “[But] we’re not near the edge, we’re over the edge, and we’re tumbling down. You need to throw a lifeline down.”

Rising up, back on the street
The Music Venue Trust was created to promote a simple yet clear idea. “Ownership of the physical buildings was the key issue,” Davyd tells IQ, “and the trust was created with that name specifically as a reference to the concept of a National Trust for Music Venues – a model of benevolent ownership that would support the sector against all the other challenges it faced.”

The idea came to Davyd after the financial crisis of the late 2000s, and specifically, the closure of London’s Astoria in 2009. “That was the moment I realised no one seemed to care about the live music ecosystem,” he says. “There was a definite feeling for a number of years that things were so bad that obviously somebody would step in and do something. But finally, in 2013, we realised nobody was going to – we would have to do it ourselves.”

“We are focused on advocating for cultural politices that can safeguard these spaces for continuous improvement”

And while that remains one of MVT’s goals – “It took us nine years to finally deliver that ownership model,” says Davyd; they purchased The Snug in Atherton in 2023 – a far greater scope of activities, services, and other problems have presented themselves over the years. In the same vein, differing legislative and economic realities in other territories, coupled with much later start dates, means that similar organisations in other parts of the world have often focused on more immediate practical measures.

Face to face, out in the heat
“We have secured direct support for programming and infrastructure in the venues,” says Carmen Zapata Corbalán, manager of Associació de Salas de Conciertos de Catalunya (the association of concert halls in Catalonia – ASACC), “and our ongoing efforts are focused on advocating for cultural policies that can safeguard these spaces for continuous improvement, even amidst changes in political leadership.”

Formed when it was realised that the live music sector required a spokesperson to advocate for smaller venues, ASACC has advocated for such spaces to be considered “cultural assets” alongside requests for the regulation of music venues to fall under the jurisdiction of the Departure of Culture, instead of its current position under the Department of Security and Police. To do so, they document the closure or cessation of concerts in venues – including a campaign called “The Last Concert?”, whereby the facades of venues were painted as obituaries – and lobby for new entertainment laws that acknowledge and support venues as cultural activities.

To date, their most notable achievement is ensuring that individuals under 18 years of age could attend concerts accompanied by parents or legal guardians, but, adds Corbalán, growth in the number of ASACC’s associated venues in recent years, from 39 to over 90, “is a clear indication of its utility and impact. This growth demonstrates that it has been successful in achieving its goal and has made a positive impact on the community it serves.”

“If people really fundamentally understood how access to live music makes us healthier, government may be more willing to wrap their heads around the kind of policymaking that’s required”

The Canadian Live Music Association (CLMA) is also currently celebrating its tenth anniversary. An organisation whose mission is to entrench live music’s economic, social, and cultural value in both the public and private sectors. “What we’re attempting to do is influence public policymaking,” says Erin Benjamin, president and CEO, “and the education of government, along with our storytelling, has been fundamental.”

The “story” is getting through, too. “Canada saw over $70m in designated money for live music in a historic budget during Covid – never had the words ‘live music venues’ appeared in a federal budget, ever,” she says. “That was monumental and something that we return to government to remind them of today.”

And the CLMA is keen to take a holistic view of such venues and the benefits they bring beyond money – much of their effort is directed towards their social and cultural impact, too. “If people really fundamentally understood how access to live music makes us healthier, mentally and physically, government and others may be more willing to wrap their heads around the kind of policymaking, economic or otherwise, that’s required to ensure the sustainability of these types of businesses,” says Benjamin.

In Austin, Texas, Rebecca Reynolds – president and founder of the Music Venue Alliance Austin (MVAA) – found “a patchwork of regulatory agencies and requirements that made it nearly impossible for venues to be in constant compliance.” Focused support was their answer; to start with, it was issues like sound complaints and parking, she says, whereas more recently, they’ve been “spending a lot of time on disaster relief, liquor taxes, and insurance.”

“These businesses are critical to culture and economy at the local level”

She notes that while property ownership for all venues would be ideal, “I am not sure that is everyone’s goal. We do need a regulatory environment that honours the fact that these are tax-paying businesses that do not benefit from philanthropic support but are critical to culture and economy at the local level and throughout the spectrum of the music industry.”

Directed conversations with lawmakers, building trust among the venue community, and working with those in position to implement the MVAA’s goals have paid dividends. “After lobbying our state legislature for three legislative sessions, we established a fund that will reimburse businesses up to $100k in alcohol taxes per year, to be put back into the production of live music in their spaces,” she says. “We also successfully lobbied the City of Austin to create a new fund, supported by hotel occupancy tax revenue, to provide grants for commercial music businesses.”

Reynold’s success in Texas directly influenced and inspired Chris Cobb, one of the founders of the Music Venue Alliance Nashville (MVAN). A volunteer-led organisation since its foundation in 2017, the MVAN has nonetheless proved influential thanks to what Cobb describes as “unbelievable grit and determination.” Again, legislative change around funding and tax are big goals – a venue grant fund and an alcohol tax refund are the current initiatives they are advocating for – and they scored some major successes in fundraising and preventing closures during Covid.

“Tax breaks,” says Cobb when asked about their main goals. “Taxes collected from independent venues make up an inconsequential percentage of total tax collected but are a significant cost to venues. Whether it be beer, liquor, or others, we must see a change in venue tax.”

“Now we are an organisation that promotes the interests of all cultural organisers, not just live music”

To this end, Cobb and MVAN are determined to “remind people – the right people – why venues are so important. But we have to be focused and more strategic, so we’ve just hired our first lobbyist, which is very exciting.” That cost is being split with the recently launched the Tennessee chapter of the National Independent Venue Association, and MVAN has also partnered with a local charitable organisation, their musicians’ union, the Musicians Association, and Belmont University on a music census to identify challenges and provide policy recommendations.

Norway’s Norske Kulturarrangører (NKA) has a little more history fighting for the arts – it started life back in 1982, working to promote the interest of volunteer-based rock clubs in Norway. “But now we are an organisation that promotes the interests of all cultural organisers, not just live music. So our approximately 500 members range from Live Nation, lots of rock and concert halls, and rock/blues clubs, whether public, volunteer, commercial, or global,” says Anders Tangan, the organisation’s senior advisor.

In Norway, gentrification is a major threat to grassroots venues, says Tangan, so much of NKA’s work revolves around protecting them from eviction. But the spectre of tax also looms large here. “In 2009, we managed to halt the proposal to put VAT on culture – we still have 0% VAT to this date, but the debate goes on,” says Tangan. “And in 2019, we managed to stop the taxation of volunteer work at venues and festivals.”

Overall, they’ve found that collaboration is key to achieving the required changes. “Historically, it’s been difficult coming together and speaking with one voice,” he says. “During Covid, this changed, and we could see that different organisations united, and real change was made. I think that will be important in the future – to unite and try to speak as one across the culture sector.”

“We are working to expand our reach and influence to ensure independent stages have a seat at the decision-making table”

Of course, new organisations and associations continue to pop up all over the world, united by the urgency of the fight and inspired by the precedent the Music Venue Trust has set. Australia’s Independent Live Venues Alliance (ILVA) is not even a year old yet but has already succeeded in getting grassroots venues “on the agenda,” as Jade Flavell, one of the founders, put it, and in “changing the language and thinking in media and political circles.”

Direct lobbying and coming to the table with practical and constructive ‘solutions’ that make it easy for those in power to say ‘yes,’ are one way that ILVA – the first organisation of its kind in Australia – plans to keep “chipping away” at the issue, says Flavell; ditto launching public awareness campaigns and calls to arms. And these are already bearing fruit; a few days after our initial interview, another Flavell, emails with news of a significant victory.

“The State Government of South Australia just announced a new programme to support small-medium dedicated live music venues with grants of up to $60,000 over 12 months towards costs associated with presenting original live music,” she writes. “ILVA worked closely on this programme with the minister for arts/small business Andrea Michaels – an engaged and sympathetic minister – and we were instrumental in securing this funding and ensuring it was targeted to dedicated original live music venues.”

Back in the US, the National Independent Venue Association (NIVA) is a little older than ILVA – three years to be exact – and, according to executive director Stephen Parker, was formed with “an initial singular goal in mind – to convince Congress and local governments to invest in the recovery of independent venues, promoters, and festivals.”

“We need the whole industry to accept that it has a responsibility to make sure that aspiration and opportunity exists for new and emerging artists in every town and city”

Inspired by how Davyd and MVT had “leveraged the collective voice of grassroots venues to influence government,” their top priority is the “financial and operational sustainability of our members” and a foundation of advocacy. Having already secured what Parker calls “the largest arts investment in US history,” their approach is two-fold. “We are working to expand our reach and influence to ensure independent stages have a seat at the decision-making table, and we are building coalitions of music and event industry organisations that are active at the federal, state, and local levels,” he adds.

Rising up to the challenge of our rival
And the next goal in their sights? “The biggest thing that would have an immediate impact is comprehensive ticketing reform that finally regulates a secondary resale market that is predatory for fans, artists, and venues,” says Parker. “Fraud is rampant in the secondary resale market, and our industry deserves the consumer protections that other industries have enjoyed for decades.”

Ah, yes. Ticketing. It’s a common issue mentioned by most of the organisations IQ speaks to and is something of a personal bugbear for Mark Davyd. Determined to make the wider music industry take greater responsibility – morally and financially – for the plight of grassroots music venues, he thinks ticketing is one of the most effective, easiest ways of achieving this.

“We need the whole industry to accept that it has a responsibility to make sure that aspiration and opportunity exists for new and emerging artists in every town and city in the UK,” he says. “A simple £1 levied on each ticket at arena level, funnelled back into the grassroots, would ensure that venues across the country can continue to support the artists and crew that emerge from the grassroots sector.”

“It’s doable and it’s worthy”

He notes that football already has a version of this in place, as does the French music industry. Furthermore, he adds that the French are going even further; from May, a 1.75% tax on streaming services in the country will be paid into a central fund and then distributed to support French artists, venues, and promoters. “We should be doing that here,” he remarks pointedly.

With eight new arenas being built across the UK in the coming years, Davyd told Parliament last year, “The distribution of wealth in this industry has got to change and be sustainable for grassroots, or we are all heading down over the cliff. Not a single one of those should open unless it has a policy where every ticket sold is investing back into grassroots music venues and grassroots artists – say no to them unless there is a pipeline.”

Tax, in the form of VAT, is also an issue in the UK, he says. The current VAT rate of 20% applied to tickets is “crushing the economic viability of this sector” and, he notes, is the highest of any major music nation in Europe – second only to Lithuania in the amount charged for putting on new and emerging talent. “That is ridiculous,” he says.

Even if Parliament is dragging its feet, Davyd’s calls have not completely fallen on deaf ears; part of MVT’s success has been co-opting other businesses and organisations into their campaigns and persuading them to change their own modus operandi. Gigtix, who launched a safe ticket reseller website in 2020, adopted the £1 donation model from the beginning; the money goes directly to MVT. “Would £1 really hurt all these companies selling tickets so much?” says Stephen Lee, the company’s director.

“The majority of fans would happily pay more if it meant venues had better facilities and survived”

“It hasn’t hurt us – it’s doable and worthy.”

He also believes the general ticketing ecosystem could do with an overhaul and that venues themselves can adopt a new – and somewhat controversial for some – approach. “We believe they themselves must dynamically price their tickets to generate enough profits to survive,” he says. “It’s vital, and venues shouldn’t frown upon it – the majority of fans would happily pay more if it meant venues had better facilities and survived.”

Even Ticketmaster have joined the fight; while not going as far as adopting the mandatory £1 approach, they at least give fans the option of donating when they purchase. “This year, we’ve hit a major milestone in our collaboration by introducing the optional Music Venue Trust donation across our marketplace, giving the millions of fans who come to Ticketmaster the opportunity to help UK grassroots venues,” says Andrew Parsons, managing director of Ticketmaster UK. “It’s our way of doubling down on supporting the crucial work MVT does.”

Since 2016, Ticketmaster has been the main sponsor of Venues Day – an event established by MVT COO Beverley Whitrick for grassroots music venues in the UK. In 2021, they launched a booking fee rebate where venues receive a 50% rebate on all booking fees, and just last year, they launched an annual MVT charity upsell option across their site, with Ticketmaster matching all donations received.

Of course, some venues and entertainment groups are taking it upon themselves to implement change. Many feel it’s the least they can do. “It isn’t rocket science, and it isn’t a huge amount of effort,” says Lisa Mart, venue director at Swansea Arena, which is part of the Ambassador Theatre Group. “And it’s mutually beneficial.”

“Collaboration is key for there to be lasting change”

From October last year, the arena implemented a year-round charity upsell of a minimum of £1 on all music events announced and held at the venue, as well as announcing an annual fundraiser event – the Swansea Arena House Party – which will feature a creative industries fair and workshops; the aim is to raise £20,000 from that event alone, with all ticket proceeds going directly to MVT.

Working together with other venues and organisations and being acutely aware of how vital audience awareness is, also lends a practical edge to the arena’s efforts. “Collaboration is key for there to be lasting change,” says Mart. With lack of late-night transport in South Wales a problem, they lobbied the government for more investment; they also lobbied about the lack of available and affordable outdoor poster sites for smaller venues.

And they’re keen on even simpler solutions, like sharing facilities, equipment, parking spaces, and general knowledge or expertise. “We are all in a WhatsApp group, so they [other local grassroots venues] know they can jump in and ask for or offer help where needed,” says Mart, all part of a plan to “make the most of the people being brought into the city.”

It’s been an extremely challenging decade for everyone involved in the arts, particularly grassroots music venues – not just in the UK but worldwide. Speak to people involved in the fight and they’ll tell you how frustrating the pace of change is and how reluctant those with power or influence can sometimes be to make it. “The closer we get to real long-term sustainable solutions to the challenges faced by the grassroots music ecosystem, the more defensive the music industry becomes about taking the action that is so obviously needed,” says Davyd.

“Music Venue Trust’s dogged determination and passion as advocates for grassroots venues serve as an inspiration for all of us”

But across the last decade, real strides have been made, and those campaigning for change remain filled with hope and determination – not least when they gaze upon the tireless dedication of MVT and what they’ve been able to achieve. “I’d give us a ten out of ten for determination to get things done,” says Davyd, “and I’d rate us a five or a six for getting it done quickly, but that’s the reality of trying to nudge a giant oil tanker like the music industry towards a more ethical and considered position.”

Just a man and his will to survive
Serving as an inspiration to others, what Davyd and MVT have done is best summed up by Michael Bracy, founder of the Music Policy Forum. “So much of what makes them so effective is their authenticity,” he says. “The Music Venue Trust’s dogged determination and passion as advocates for grassroots venues serve as an inspiration for all of us, and what may not be as visible is their remarkable generosity as collaborators and their eagerness to learn from others. They know they don’t have all the answers but are constantly in dialogue with other advocates and stakeholders from across the globe.”

“Mark Davyd is not just a pioneer, and he’s not just a visionary – he has changed the world with his work,” adds Erin Benjamin. “And if it weren’t for him and the Music Venue Trust, we would not be having these conversations.”

“That vision of what this network could be is achievable and could be delivered within a decade… if everyone just got behind it and did what they should be doing to make it a reality”

It’s a sentiment echoed by everyone IQ speaks to, but keenly aware of the battles – and difficulties – that lie ahead, all are focussed on creating a better, more sustainable future for grassroots venues and ensuring they don’t just survive but thrive. Music as we know it may depend upon it.

“The dream is a network of energy self-sufficient venues, benevolently owned by a not-for-profit entity, operated by a not-for-profit organisation, operating without Business Rates or VAT on tickets, housing accommodation that artists can use for free, with a fleet of electric vehicles that artists can travel in, and plugging into an excellent backline to perform on stages with the best available sound and lighting,” says Davyd of the MVT’s plans for the next decade. “That vision of what this network could be is achievable and could be delivered within a decade… if everyone just got behind it and did what they should be doing to make it a reality.”

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Music Venue Trust (MVT) has announced a major new funding initiative, which will provide grants of up to £5,000 for UK grassroots music venues.

The Pipeline Investment Fund has been established with the support of members of the Music Venues Alliance and funded by donations from ticket sales of MVT’s recent Revive Live programme of gigs around the UK.

The fund, now open for all operators and organisations that meet any of the three definitions of a grassroots music space, aims to support venues in two key areas.

The first is small-scale capital applications (which includes lights, sound, access, ventilation and minor building alterations) and the second is staff and training (workforce diversification, succession planning, skills development and strengthening local community ties).

MVT says the fund will prioritise support for organisations that may be excluded from other available funding. The organisation is also actively seeking further donations to maintain and expand the fund.

“We have been working on music industry-based funding support for Grassroots Music Venues since 2018,” says Mark Davyd.

“This is the wrong time to take money out of the grassroots ecosystem, whether that’s for venues, for artists, or for touring”

“The launch of the Pipeline Investment Fund is an important indication of how the grassroots sector supports and nurtures each other. It provides a targeted opportunity for individuals, companies and organisations right across the industry to get involved and provide direct and meaningful financial assistance to the venues which support artists to launch and build their careers. We hope that the industry will see this as a real chance to make a genuine difference”

The news follows MVT’s sold-out Venues Day, which took place yesterday (18 October) in London, with 650 delegates including grassroots venue operators and booking agents.

During the event, MVT called on PRS For Music and The Arts Council to continue providing support to the grassroots live music sector.

The PRS For Music board recently voted to dramatically reduce funding of its PRS Foundation from 2024 and Arts Council England announced that it will be ending its Supporting Grassroots Live Music grant scheme in March 2023.

Addressing delegates at Venues Day, MVT CEO Mark Davyd said, “This is the wrong time to take money out of the grassroots ecosystem, whether that’s for venues, for artists, or for touring. We strongly urge PRS for Music and Arts Council England to think again. The number of opportunities for new and emerging artists to perform is absolutely vital to the future health of UK live music, and we need to see those opportunities financially supported more than ever before. This is not the time for cuts to funding”.

In other news, MVT and AI-driven company Hearby are launching the UK’s ‘first-ever’ unified gig listings from more than 900 venues across the country.

Hearby will also host MVT’s Venue Directory which has moved online for the first time since it was first printed (year, add history) – allowing members to regularly update their profile and keep their following in the know.  Discover the gig guide here.

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Music Venue Trust (MVT), which represents 100s of grassroots music venues in the UK, has announced that its annual conference and networking event, which was postponed last year due to the pandemic, will now take place in October.

To enable as many venues as possible to participate, Venues Day 2021 – which takes place at Earth in London on Tuesday 5 October – will be a hybrid event incorporating Venues Day Online, a day of virtual activity on 12 October, to ensure every venue in the country gets access to best practice information, advice and guidance as they emerge from lockdown.

Another new event, the inaugural Venues Day International, will take place on 19 October. A partnership between MVT and Live DMA (Europe), Music Policy Forum (North America), Canadian Live Music Association, Live Music Office Australia and NIVA (US), Venues Day International is the first global event aimed exclusively at grassroots music venue operators and owners.

Venues Day International will also take place online and feature panels, presentations and discussion on shared challenges and opportunities across the world.

“We are incredibly excited … to have taken the challenge of the crisis head on and be delivering a hugely increased range and scope of events”

Venues Day is sponsored by Ticketmaster and Amazon, with additional support coming from Jack Daniel’s, White Light, ILMC and media partners IQ and NME.

Andrew Parsons, MD of Ticketmaster UK, says: “Venues Day has long been a pillar for the grassroots community, but this year’s will be a lifeline to so many venues around the country as we inch closer to reopening. The sheer graft of MVT throughout the pandemic to support the industry has been truly inspiring to see, and we’re happy to do our part and sponsor Venues Day 2021.”

“Music Venue Trust offers invaluable support to our industry, and initiatives such as the Grassroots Music Venues Crisis Service have provided a lifeline for many over the past year,” adds Patrick Clifton, UK head of music for Amazon Music. “At Amazon Music we’re proud to continue our partnership with MVT, to help bring Venues Day to grassroots sites across the country, providing guidance and advice to ensure they can safely open their doors to music fans.”

Beverley Whitrick, strategic director of Music Venue Trust, comments: “Venues Day 2021 will further encourage collaboration and sharing, connecting venues across the world so they feel part of a growing movement to emphasise how vital they are to both the wider music industry and local communities. We are incredibly excited to not only be able to deliver the existing event, but to have taken the challenge of the crisis head on and to be delivering a hugely increased range and scope of events with our domestic and international partners.”

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Ellie Rowsell, frontwoman of Mercury Prize-winning band Wolf Alice, has called for more musicians to step up in the fight to protect the UK’s grassroots venues. The singer-songwriter spoke at the start of Venues Day 2018, the conference organised by Music Venue Trust.

The sold-out fifth edition of Venues Day takes place today, with over 500 venue professionals in attendance at Islington Academy in London. Following a welcome address by Liberal Democrat peer Tim Clement Jones, Rowsell urged more musicians to support the grassroots venues scene.

“I could go down to the [now-closed] Purple Turtle in Camden and borrow every piece of their equipment on their open-mic nights,” she said. “When I see these grassroots venues closing down or under threat, I worry that these authentic starts may no longer be possible.

“The music industry can’t afford to be more depersonalised – when your favourite venue turns into a Costa Coffee, it’s a loss of culture, opportunity, community and individualism.”

“When your favourite venue turns into a Costa Coffee, it’s a loss of culture, opportunity, community and individualism”

MVT says it hopes to see more musicians attending and lending their support to Venues Day 2019.

Rowsell continued: “Musicians can be one of the greatest helps of all. Last summer we toured a lot of the venues we first played in. It’s easy to forget that the venues are there cheering you on as well, and might invite you back to play when you’ve sold no tickets the first time around.”

“It’s important for musicians to recognise these acts of kindness – more should be giving back.”

Venues Day is supported by UK Music, Help Musicians, Jack Daniels, the O2 Arena and Academy Music Group. The programme includes a mix of panel discussions, presentations, working groups and speedmeeting sessions with booking agents and various specialists.

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The 2018 edition of Venues Day, which takes place at Islington Assembly Hall in London next Wednesday (17 October), has sold out, organiser Music Venue Trust (MVT) has announced.

Venues Day 2018, which moves after four successful years at Ministry of Sound, will host more than 500 delegates representing over 200 venues, together with key grassroots music venue sector stakeholders, for a day of panels, workshops and presentations.

Agenda highlights include panels on music industry practice, health and wellbeing and company structures, while presentations include PRS/PPL on licensing, John Spellar MP on the progress of agent of change and the next steps for venues, and headline sponsor TicketWeb presenting facts and figures from the frontline.

Returning for 2018 is Sandbox, the meeting space for agents and venues, and the MVT team will be at hand to offer advise on licensing, planning, rates and legal issues.

“Venues Day is the key moment in the calendar when the music industry can hear directly from the venues under threat”

“The ongoing crisis in the grassroots music venues sector shows no signs of abating, with three new venues, Sticky Mike’s, Talking Heads and Marshall Rooms, forced to announce closures this week,” says MVT.

“Venues Day, now in its fifth year, is the key moment in the calendar when the music industry can hear directly from these venues under threat about what needs to change, and what steps need to be taken to protect, secure and improve the sector.”

The event kicks off with a panel presented by BBC DJ Steve Lamacq, ‘The Magnificent Seven: Anniversaries, Celebrations and Survival Stories’, celebrating venues that have fought on against the threat of closure.

For full details, visit the MVT website.

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TicketWeb, Ticketmaster’s indie ticketing platform for independent venues and promoters, has signed Night and Day Café, one of Manchester’s most famous music venues, the company revealed to IQ at Venues Day earlier this week.

The 220-cap. venue (pictured) moving over from Dice to TicketWeb follows a year of strong growth for the latter’s Backline service, a joint venture between Venues Day organiser Music Venue Trust (MVT) and TicketWeb which serves as a way for small (sub-1,500-cap.) venues and promoters to sell tickets directly to fans through their own platforms.

Launched at Venues Day 2016, there are now more than 25 new MVT venues using Backline, said TicketWeb International’s director of marketing and artist services, Jon West.

“We have a special deal with MVT members with a capacity of 500 or below,” he explained, highlighting new Backline clients including the Booking Hall in Dover and the Brook in Southampton.

grassrootsvenues.tickets, meanwhile – a website and service by TicketWeb and MVT that has “rapidly become a hub for fans wanting to learn about their local grassroots music venues” – launched in July.

“TM had its busiest day ever when Ed Sheeran’s stadium tour went on sale – but that story started on TicketWeb in grassroots venues”

“It’s great to work with iconic venues from cities with a rich music heritage, but the other important part of what we do with MVT is recognising that live music exists outside major cities,” West continued. “It’s been really cool seeing these pockets of music, these cultural hubs that are at the centre of their local communities, and it’s really important to support them.”

As an example, West referred back to Steve Lamacq’s Venues Day keynote, in which the BBC radio DJ became noticeably teary as he talked about his “old stomping ground” in Harlow, Essex, where the town’s main venue, the Square, has been closed since last December.

TicketWeb, explained West, also plays an important part in Ticketmaster’s artist services division, with Sam Isles simultaneously serving as TicketWeb MD and VP of Ticketmaster artist services.

“Grassroots venues are the breeding ground for new talent,” he said. “Ticketmaster had its busiest day ever earlier this year, when Ed Sheeran’s stadium tour went on sale – but that story started long ago on TicketWeb in grassroots venues across the country, and that’s just another reason why these stages are so important to the whole music industry”.

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Recorded music business giant Sony Music UK has become the first major industry player to commit to financially supporting Music Venue Trust (MVT) and its mission protect, preserve and improve Britain’s grassroots music venues.

The announcement, which comes after MVT’s recent Venues Day 2017 event in London, attended by more than 500 delegates, will be welcome news for the organisation following the controversial rejection of its request for funding by Arts Council England.

UK industry lambasts Arts Council over venue funding

Jason Iley, chairman and CEO of Sony Music UK, says: “Sony is committed to supporting and developing artists from grassroots to festival headliners. We recognise the vital role that grassroots music venues play in that journey, providing an essential platform for artists to be able to take their first steps and develop their audiences.

“These venues are the heart of our music communities, and we support the work of Music Venue Trust to protect, secure and improve them.”

MVT says it hopes the commitment from Sony – and the involvement of eight of the UK’s top booking agencies in the Sandbox at Venues Day – will encourage further financial support from key players in the British music industry.

“Post-Venues Day, MVT will be focusing on strengthening music industry relationships and working with our network of venues, the Music Venues Alliance, to fundraise to take forward priorities identified at the event,” comments Venues Day producer Bev Whitrick.

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Michael Dugher, the chief executive of UK Music, yesterday unveiled fresh plans to protect music venues threatened with closure.

Speaking at Music Venue Trust’s fourth Venues Day event at Ministry of Sound in London, Dugher said the the umbrella organisation had partnered with Labour MP John Spellar to push in parliament a radical plan to enshrine the agent-of-change principle – which would require property developers to take into account pre-existing businesses, like music venues, before proceeding with a project – in UK law.

Since last May, agent of change is already included in planning guidance in England, but is not compulsory. The proposed new law would would place a burden on the developer to make sure solutions are in place to mitigate the potential impact of their scheme on existing businesses across the entire United Kingdom, including Northern Ireland, Scotland and Wales.

Spellar will outline the measures in a backbench ‘ten-minute rule’ bill later this year and hopes to win government support for the legislation.

“I hope everyone will join UK Music in our battle to get agent of change on to the statue book”

“Enshrining agent of change in law would be a critical weapon to help music venues across the UK in their fight for survival,” says Dugher. “The threat from developers, along with soaring business rates and licensing regulations, could prove a lethal cocktail for many venues unless we work together to help them survive and thrive.

“In particular, these are challenging times for small and grassroots venues which play a crucial role in nurturing new talent and helping artists get their big break. I hope everyone will join UK Music in our battle to get agent of change on to the statue book so we can ensure the continued vibrancy and diversity of our fantastic music venues.”

Spellar adds: “I’m delighted to be working with UK Music to win support for the agent-of-change principle.

“More than 30 million people attended live music events last year at venues across the UK. The live music industry makes a major contribution to both our economy, employment and our culture. It must be safeguarded.”

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A British peer has said licensing laws should be changed to force staff at UK music venues to undergo counter-terror training.

Ruth Henig, Baroness Henig, this morning told BBC Two’s Victoria Derbyshire programme she plans to table an amendment to the Licensing Act 2003 to include mandatory anti-terror training.

“There are clearly a number of venues – often the larger venues, I think, but not always – who have airport-style security, who, for example, do have metal detectors, who do have very well-trained security personnel and they top up this training regularly,” said Baroness Henig (pictured), who is also a non-executive chair of private security firm SecuriGroup.

“But I think at the other end there is a tail of venues who aren’t taking it seriously – we know this from the police – who don’t co-operate, who don’t take up the offers that are made to them and where I think there are some concerns. And the issue is, how do you get to that tail of venues who are perhaps not doing as much as they should be about security?”

“It is unfortunate Baroness Henig should have made such an ill-judged statement without contacting us”

Baroness Henig’s comments were criticised by Music Venue Trust (MVT)’s Mark Davyd, who described them as “ill-judged” and rejected claims Britain’s venues are refusing to cooperate with authorities.

“It is unfortunate Baroness Henig should have made such an ill-judged statement without contacting us,” he tells IQ. “We would have been able to reassure her that small music venues are fully engaged with [Metropolitan police counter-terrorism initiative] Project Griffin, which was presented at Venues Day 2016 and was warmly received by over 200 music venues.

“There is no evidence to suggest that music venues are averse to engage with the police or any other non-commercial security agencies when it comes to issues surrounding the safety of the public. If any grassroots music venue feels under-informed about Project Griffin, Music Venue Trust is working with the Met and we are happy to supply further information.

“We have not been made aware of any specific threat against grassroots music venues; we would urge that all public spaces, theatres, cinemas, libraries, museums, etc., should adopt the proactive approach being undertaken in this sector by MVT and the Met.”

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Following yesterday’s well-received third Venues Day event at the Roundhouse, Sir Paul McCartney has affirmed his support for Music Venue Trust’s efforts to protect the UK’s grassroots music venues.

The ex-Beatle, who on Saturday played the second and final weekend of the Desert Trip ‘megafestival’ in California, says: “Throughout my career I’ve been lucky enough to play in venues of all different shapes and sizes, from tiny clubs to massive stadiums all over the world. Without grassroots clubs, pubs and music venues my career could have been very different.

“I support Music Venue Trust because artists need places to start out, develop and work on their craft, and small venues have been the cornerstone for this. If we don’t support live music at this level then the future of music in general is in danger.”

“Without grassroots clubs, pubs and music venues, my career could have been very different”

Also throwing their weight behind MVT’s mission are writer, comedian and ‘national treasure’ Stephen Fry, Jeremy Pritchard of Everything Everything and Public Service Broadcasting’s J. Willgoose, Esq. (the latter two of whom performed at the post-Venues Day #Fightback show).

Fry comments: “Are you fed up with our music venues being closed down by greedy and short-sighted developers and people with no sense of culture? Let’s club together and #Fightback.”

Willgoose adds: “”We’re firmly behind  Music Venue Trust and its support for grassroots venues across the country. Too many venues have been lost in recent years and those that survive are under unprecedented pressure from unscrupulous developers, with little protection offered to them by the government, be it national or local.”

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