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Fatboy Slim is set to deliver a unique DJ performance at The Pipeline in Brighton, a venue with an intimate capacity of just 60 attendees. In Nottingham, grime icon D Double E will appear at a special warehouse event hosted by the Brickworks. Meanwhile, acclaimed pop artist Hill plans to debut tracks from her upcoming album, Rebecca, at the well-known Marrs Bar in her hometown of Worcester.
The event, named “Everywhere At Once,” is organised by the Music Venue Trust with the aim of drawing attention to the significance of small, local music venues, which are currently facing critical challenges. Since the pandemic, the UK has lost 37% of its clubs, many of which now barely manage to stay afloat. Last year saw over half of these venues operating at a loss, while changes in national insurance and business rates contributed to the elimination of 6,000 jobs within the sector.
Tinie Tempah, performing in Newcastle, Norwich, and Southampton as part of the festival, emphasises the vital role these venues play in music culture. He notes, “We’re losing three nightclubs a month,” and reflects on the shifts in social habits post-pandemic, stating, “Since the pandemic, people are going out less, drinking less. Lifestyles definitely changed.” He highlights the historic importance of these spaces by recalling the Bristol clubs that launched trip-hop and the London underground clubs where grime originated, expressing concern about the future if these venues disappear.
The London scene, in particular, is under strain from a combination of increasing operational costs, stringent noise rules, and early closing times. Sacha Lord, known for founding the Warehouse Project and advising on nightlife in Manchester, criticized some London councils for what she described as an obsession with “limiting hours, limiting outdoor seating and limiting people having fun,” which she argues negatively impacts the city’s nightlife.
Supporting the cause, musician Tilbrook will hold a show aboard Theatreship, a floating arts venue in Canary Wharf, one of over 50 gigs happening within London’s M25 ring as part of the festival. Even artists not directly involved are contributing: Harry Styles is donating £1 from each ticket of his 12-night Wembley Stadium residency, raising over £900,000 for the Music Venue Trust. Similarly, Wolf Alice has committed funds from their recent tour, stressing how essential small venues were to their early success. Ellie Rowsell, the band’s vocalist, says, “Small venues were a huge, formative part of our journey. We wouldn’t have existed without them.” Guitarist Joff Oddie adds, “You’ve got to look at how tough it is for young artists to start out and go on the road,” recalling the challenges of touring on favors and makeshift arrangements and questioning how newcomers can manage nowadays given the economic climate.
Around the UK, varied initiatives aim to support emerging music scenes. Halifax uses proceeds from large shows at The Piece Hall to assist five smaller venues. Liverpool’s city council offers grants up to £3,000 for venues with a capacity below 30. In London, major venues like the O2 and Royal Albert Hall contribute part of their ticket revenues to the Music Venue Trust. Though there have been proposals to impose a £1 levy on tickets for large arena and stadium events to fund grassroots venues, the government currently prefers the scheme to remain voluntary, and major promoters such as Live Nation are opting out. Furthermore, nightclubs and grassroots venues were excluded from the recent business rates relief scheme, despite a 56% increase in their rateable value since 2017.
Tilbrook stresses the need for legislative support, proposing measures such as a VAT cut to help these venues survive. “If there’s no provision for low-key or cheaper entertainment, then those places will disappear,” he warns. The “Everywhere At Once” Festival, backed by the National Lottery, takes place from 26 to 28 June, offering a wide array of concerts designed to celebrate and sustain the small venues that remain
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