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On a Sunday evening, the Brudenell Social Club in Leeds is bustling with customers. One room is hosting a blues festival while the other is featuring a performance by American musician Sam Evian, both with a capacity of 400 people. In the lounge area, university students are gathered to watch a Liverpool vs Chelsea soccer match on the television. However, owner and promoter Nathan Clark is feeling apprehensive as things may not be going as well as they seem.
The previous day, he had made preparations to have the Australian psychedelic rock band Psychedelic Porn Crumpets perform, as they had successfully attracted 1,000 attendees in Manchester the night before. However, he received an unexpected call informing him that the lead singer had been bitten by a dog and their show had to be cancelled. This left him disappointed, as they had already invested in a £600 projector screen, hired technicians and security, and provided food and drinks for the band. Unfortunately, these expenses cannot be recouped. He compares it to playing a game of chance.
Organizing live performances has always been a risky endeavor, and the situation is even more precarious for smaller establishments, even without the additional complication of angry canines. In the world of large-scale concerts at stadiums and arenas, companies like Live Nation are attracting record-breaking numbers of fans. The success of tours by big names like Taylor Swift and Beyoncé has boosted the multinational corporation’s revenue to an impressive $22.7 billion (£17.8 billion). However, on the other end of the spectrum, 125 venues in the UK were forced to discontinue hosting live music in 2023 – with more than half of them permanently closing. These closures were a result of various pressures, including exorbitant rent and energy prices, as well as the lingering effects of the Covid pandemic.
The prestigious Moles club, located in Bath, closed in December after being in business for 45 years. This closure is not an isolated incident, as other popular establishments such as Melodic Distraction in Liverpool and Velvet Music Rooms in Birmingham have also recently shut down. The nightclub industry as a whole is facing challenges, with Rekom, the owner of Pryzm chain, announcing the closure of half their venues due to the current cost of living crisis. Additionally, several major music festivals have either postponed events or ceased operations for this year.
Mark Davyd, founder of the Music Venue Trust, notes that it’s not just the venues that are suffering. He explains that artists are struggling to afford touring and have been forced to cut down their tours due to financial losses. As a result, the entire ecosystem is in danger of collapsing.
In the weeks leading up to the initial UK lockdown four years ago, I visited the Brudenell, a former working men’s club constructed in 1913, to observe its operations. Now, it is my go-to location to check on its current state. One noticeable difference is that Clark now has his own office, adorned with a poster of Johnny Marr (who has praised the venue as “a unique space”) hanging on the wall above him. “I used to do my work on a laptop in the bar,” he says with a laugh.
In the previous decade, efforts were made to improve the venue whenever possible, as the Brudenell operates as a nonprofit organization and reinvests all funds back into the venue. Therefore, the hiatus caused by Covid presented the ideal chance to upgrade the PA system, lighting, and backstage areas in order to solidify our position. Clark emphasizes the importance of the 18-month reduction of VAT to 5% for the hospitality industry, stating that it was crucial for the venue’s survival.
Clark describes the challenges that venues across the country are currently facing over cups of Yorkshire tea. He explains that everything, from the fees for artists and the wholesale prices of beer for the venues, to the expenses for bands such as accommodations and transportation, is becoming increasingly expensive. The Brudenell, which is operated by a non-profit community enterprise that owns the venue, is fortunate to be shielded from the drastic rise in rent that has caused many other venues to close down. However, this also means that the cost of maintaining the building is a major concern. For instance, the venue currently needs a new roof which can cost up to £100,000.
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Band on the Wall, located 35 miles from Manchester, is in a relatively stable state, thanks to its affiliation with a non-profit organization that owns its building. However, like many others, it has also faced ups and downs. “We had a successful autumn, but suffered a loss of £25,000 in January,” shares Gavin Sharp, the chief executive. “It’s difficult to make long-term forecasts with such significant losses.”
According to Clark, the rise of popular large-scale concerts suggests that there is still a desire for live music, despite Pryzm’s claim that their financial struggles are due to students choosing to stay at home. However, venues with a capacity of less than 600 are facing challenges with their business models. Clark acknowledges that their profits are not dire, but they have been greatly impacted by reduced margins. The revenue from food sales and other sources such as pool table fees and student-purchased drinks all contribute to supporting live music, which is a challenging aspect of the business.
Sharp claims that the financial return for operators, staff, and bands is insufficient. The average age of concert-goers is typically too young to afford a reasonable ticket price, resulting in venues relying on the enthusiasm of young individuals and paying staff minimum wage. With alcohol consumption decreasing and ticket sales barely covering expenses, relying on bar revenue to support this model is no longer sustainable.
Davyd says venues try to bring in extra cash by promoting bigger gigs elsewhere, or by selling pizza. “A third of people running them now have a second job. Or, rather, they have a first job and running the venue has turned into their second job – they’re using their employment wages to keep the venue going.”
Clark, on the other hand, experiences the opposite situation. As the current owner of the venue previously owned by his deceased father, he works long hours. He remarks, “You have to invest more time and effort now than ever before. It has become more cut-throat and I feel more exhausted. It’s like being stuck on a hamster wheel with no escape. Even if you manage to break even, the upcoming increase in minimum wage poses a challenge. Many individuals receiving minimal financial compensation are reaching their breaking point and saying, ‘I can’t continue this anymore.'”
Near the city centre, I visit the punk, hardcore and metal venue Boom Leeds. With Ramones and Misfits posters decking the walls, five bands on the bill for £7 when I visit, an over-14s policy and a strong sense of community, it’s a special place – “the only one to really focus on this culture,” says pink-haired Nicole, 18, who first attended at 15 and has seen Black Flag and Subhumans here.
“According to Harry, the 18-year-old guitarist for the hardcore band Narkotyk performing tonight, the community takes care of each other. He recalls attending his first concert here and notes that the venue offers something unique. Boom Leeds was at risk of closure again due to a remaining debt of £45,000, but it was saved by crowdfunding during the pandemic. While they were able to raise £15,000 through benefit concerts, there is still a shortfall. Clark believes that, despite being a niche venue, it has the potential to launch the next big bands like Turnstile and future headliners for Slam Dunk.”
The importance of grassroots venues in promoting and nurturing future music stars cannot be underestimated. Band on the Wall, for example, has been a stage for Joy Division and Self Esteem, and small venues like Brudenell have helped launch the careers of Franz Ferdinand and Sam Fender. It is disheartening for Clark to see these venues taking a financial risk to showcase new talent without receiving any support or investment from record companies or large promoters who ultimately benefit from these emerging acts.
The first performance of Yard Act, a band from Leeds, took place at the Brudenell and they consider it their special place. Last May, they had a series of shows there, and Clark is now promoting their upcoming summer concert in the city center, which is expected to bring in a significant amount of money. However, it is uncommon for artists to have such a bond with grassroots venues, as these venues are essentially the experimental and developmental aspect of live music.
Davyd comments, “The closure of Bath Moles was a shock to our sector. The artists who performed there – including Oasis, the Cure, and Eurhythmics – brought in millions, if not billions, of pounds for the music industry. Despite being sold out on their final two nights, the venue still ended up losing £1,100. This demonstrates the music industry’s failure in researching and developing successful music venues.”
Gentrification is another threat. Sharp says venues can set up in a run-down area with cheap rents and drive economic regeneration, only for the landlord to “triple or quadruple the rent. If the venue survives that, it can be subject to noise complaints and shut down later anyway.”
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The divide between the most successful and least successful is growing as new, larger arenas are being built. Opening in April, Co-op Live in Manchester can hold 23,500 people and intends to hold 100 concerts annually. Bev Craig, the leader of the council, has guaranteed that this massive venue will solidify Manchester’s position as a top destination for both international artists and tourists. Unfortunately, tickets for the Eagles’ goodbye concerts in June begin at £87, and the city already has Manchester Arena, which has a capacity of 21,000.
According to Davyd, we are currently experiencing a period of success where many famous rock stars and bands from the 1990s and 2000s are able to attract large crowds at venues. The demand for tickets to arenas and stadiums is high, which is not seen as a negative thing. Interestingly, artists such as Dua Lipa, Ellie Goulding, and Adele, who are not typically associated with these types of venues, started out performing in smaller locations.
Sharp believes that the current abundance of big arena venues is attributable to the eagerness of local governments to promote revitalization projects. However, it is predicted that a decline in this industry will occur in the near future. On the other hand, medium-sized venues are less risky due to their cost efficiency. Nevertheless, the Guardian exposed the impact of the current crisis on festivals, with nine cancellations being reported thus far in the year.
Many of my friends have experienced the disappointment of either losing their festivals or being forced to sell them in order to pay their debts, says Oliver Jones. He is the organizer of the family-friendly Deer Shed festival in North Yorkshire. Although this year’s festival, featuring headliners The Coral and Bombay Bicycle Club, is selling quickly, Jones acknowledges that the past few years have been uncertain and unstable.
Jones expresses that their festival was able to survive during the uncertain times of Covid thanks to the government’s culture recovery fund. However, the constant uncertainty took a toll on their business. They had to significantly reduce expenses and also faced difficulties such as losing tent suppliers to larger corporate festivals and acts signing exclusive contracts. Jones also mentions that for smaller festivals, aside from competition and the high cost of living, unpredictable weather poses as a major threat as it can lead to cancellations. He gives an example of last year when heavy rain caused two inches of water to enter their festival grounds just a week after opening day. Had the rain occurred a week earlier, it would have caused them significant trouble.
These individuals are used to relying on their cleverness. Jones enjoys discovering bands for the Deer Shed festival. He is aware of the challenges of going to shows on cold, expensive nights with terrible music. However, there are other times when it can be an amazing experience.
I discovered an inspiring tale of achievement at Old Woollen, a 500-person venue located in Farsley, just outside of Leeds. At this location, producer-musician Choque Hosein, theatre producer Dick Bonham, and community events programmer Howard Bradley organize concerts, discussions, comedians, and club events in a charming old factory, using the versatile style of 1960s variety clubs.
On a cold Sunday night, I visited the venue and saw that it wasn’t very crowded, with only punk band Eddie and the Hot Rods performing. However, recent events such as Bernard Butler, Nouvelle Vague, monthly bingo and drag nights, and Public Image Ltd. have all sold out. Hosein shares that initially the venue was deemed too small for these acts, but they ended up performing anyway after a gig fell through. He finds it amusing that he has hosted both John Lydon and Barry from EastEnders, who does Barrioke, in the same venue.
The surrounding area is extensive, encompassing Farsley, Leeds, and Bradford; the owners of the mill are keen to improve the area and have been gracious in their use of space. Due to previous long-term agreements, Old Woollen is not currently experiencing an increase in expenses.
However, there is widespread agreement that a turning point has been reached. Clark and Sharp advocate for government funding of the arts, or a reduction in VAT for the hospitality industry, which Sharp believes would have a significant impact. Davyd’s Music Venue Trust is actively promoting a levy on stadiums and arenas, where a small portion of ticket prices would be allocated to smaller venues and paid for by the venue, promoter, agent, and artist rather than the fan. According to Davyd, if other artists followed Enter Shikari’s example and contributed £1 per ticket on their recent arena tour, it could have led to a total of £28 million raised, preventing the closure of any venues.
Trying to convince other well-known artists and influential promoters to do the same is difficult, but Davyd is optimistic that if the music industry does not take action, the government will step in. He believes that with venues being closed down and major companies boasting record profits, communities and their elected representatives will demand change. He predicts that a compulsory charge on arena and stadium tickets, similar to the one in France, will be implemented. In November, Conservative MP and former Culture Secretary John Whittingdale stated, “We do not currently have any intentions to enforce a ticket levy.”
At the Brudenell, Clark takes a break to finish his cup of tea before checking out Evian’s free concert to discover potential future stars. He explains, “I want to contribute and witness people leaving with smiles on their faces. But if smaller venues disappear, there will be a lack of emerging talent. There won’t be anything left.”
Source: theguardian.com
