Disabled-led charity Attitude is Everything has overhauled its Live Events Access Charter in an effort to further improve accessibility to live events.

The charter was relaunched at a celebratory event held on Wednesday (12 February) at London’s Sinfonia Smith Square, attended by more than 200 guests, supporters and partners. The evening was sponsored by LIVE, PRS for Music, PPL, Halo and MPA.

The revamped charter, which reflects the expansion of Attitude is Everything’s activities, will now operate as a “comprehensive and dynamic online learning platform”, offering charter members “access to user-friendly and accessible resources, templates and guidance”.

“I’m really excited that we’re presenting a new charter that integrates our learning around improving access for artists and professionals, our learnings around environmental responsibility, and that attempts to embed an inclusive culture through everything we do,” says Attitude is Everything interim MD Paul Hawkins. “We’re confident our relaunched charter will give greater transparency to venues and audiences, and give them greater opportunities to learn new practices and demonstrate tangible change.”

It will also now “actively ensure” that access intersects with sustainability, community building and the experiences of artists and professionals, and will use the new online platform to track trends across membership to help spot where the industry needs more support.

“Our new charter isn’t just about compliance – it’s about embedding accessibility as a core value in the live events sector,” adds Alex Covell, Attitude is Everything’s interim head of live events access. “Celebrating this achievement with funders, partners, sector friends, and colleagues in person at Sinfonia Smith Square felt important and special – not just for Attitude is Everything, but for the live events sector as a whole.”

“Live music is a joyous communal experience enriched by taking place in inclusive and accessible spaces”

Attitude is Everything, which is celebrating its 25th anniversary in 2025, has awarded charter status to more than 210 venues and festivals to date.

“Every year we build brilliant festivals that bring joy, music and wonder to millions,” says Association of Independent Festivals (AIF) CEO John Rostron. “Our gift is that we then have 12 months to reimagine what the festival will look like, and we can constantly create, innovate and improve. This is one wonderful reason why festivals lead on accessibility – they’re more nimble and free to listen, adapt and change – and the new charter is a great framework and measure by which we can all be better for the good of us all.”

The launch evening culminated in four brand-new Live Events Access Charter Awards, recognising innovation, creativity, and commitment to making live events more inclusive. Honourees were: Nottingham venue Metronome (Impact Award), Portsmouth’s Victorious Festival (Operations Award), Lytham Festival (Production Award) and Mark Schofield (Outward Voice Award) for his enthusiasm and contributions as a Mystery Shopper.

“One of LIVE’s core values is that UK live music should be accessible to all – on and off stage and in the audience,” adds LIVE CEO Jon Collins. “In seeking to live those values, LIVE could not ask for a better partner than Attitude is Everything. We are therefore delighted to offer our support for the revised Live Events Access Charter.

“Live music is a joyous communal experience enriched by taking place in inclusive and accessible spaces. It is great, therefore, that the Charter serves as a clear way for our venues and festivals to evidence their commitment to inclusion – a commitment made in the knowledge it improves the experience for us all.”

More information and sign-up details about the Live Events Access Charter is available here.

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Attitude is Everything, Julie’s Bicycle and A Greener Future (AGF) will publish a new toolkit that empowers the UK events industry to implement practical solutions that tackle both climate change and accessibility.

The launch of the toolkit comes after a 2023 survey by Julie’s Bicycle found that sustainability is a consideration for over two-thirds of disabled respondents but that one-third feel that environmental solutions are not easy to navigate and do not meet their access requirements.

The toolkit reveals key barriers that disabled people experience within sustainability initiatives and outlines practical ways in which venues, events and festivals can address both these missions holistically.

The resource also includes three case studies with UK festivals Green Man, Forwards Festival and Shambala, which highlight where the issues have arisen, the solutions that each festival has developed and the areas where further work is needed.

Throughout 2024, AIE, Julie’s Bicycle and AGF are asking for venue managers, festival organisers, and promoters to test out the toolkit and give feedback that will result in an updated version in early 2025.

The first iteration of the toolkit will be launched today at the Green Events and Innovation Conference in London with a presentation by Julie’s Bicycle and AGF.

“Just like there’s no music on a dead planet, there’s no access either”

That will be followed by a panel discussion chaired by climate justice activist, student and speaker Dominique Palmer, with Attitude is Everything Patron Blaine Harrison of the Mystery Jets, Arts Council England’s Senior Manager for Environmental Responsibility Feimatta Conteh and Forwards Festival’s Accessibility Manager Harry Jones.

“I’m really looking forward to taking part in the panel discussion at GEI,” says Blaine Harrison, Mystery Jets, Attitude is Everything Patron, and joint Attitude is Everything and FAC Artist Ambassador.

“As a touring artist with my band Mystery Jets, I have witnessed huge changes in the live music industry over the past 20 years – both good and bad. Climate Justice is perhaps the most important conversation of our time and from a grassroots level to the mainstream, I feel that solutions around the environmental impact of our industry need to feel inclusive to all.”

Suzanne Bull MBE, founder of Attitude is Everything, adds: “Just like there’s no music on a dead planet, there’s no access either. Public demand is growing for businesses to take their environmental and access responsibilities seriously, and that public includes disabled people. More than one billion disabled people worldwide are more impacted by climate change than non-disabled people due to the additional access requirements and health concerns many of them have when disasters strike countries and our cities become clogged with polluted air. My hope is that this collaboration and the toolkit will be the catalyst for change.”

Teresa Moore, director at A Greener Future, comments: “Today’s festivals need to be viewed as an ecosystem of sustainable practices where every aspect of the event supports its sustainability goals recognising that accessibility is part of that ecosystem.”

Farah Ahmed, climate justice lead, Julie’s Bicycle, says: “We’re really proud to launch this toolkit with Attitude is Everything and A Greener Future. As the urgency of the climate crisis accelerates, we have to ensure that our responses are accessible, just, and inclusive. Live events and festivals have a responsibility to ensure that disabled people are included in shaping bold new ideas for climate action that leave no one behind.”

See the key messages from the toolkit below:

• We have an opportunity as a sector to approach access and sustainability more holistically, with connected policies and solutions across different focus areas.
• Transport is a huge and complex barrier – local authorities, planners, events organisers and disabled people need to come together and find collective solutions.
• We can examine our supply chains, supporting suppliers to make accessible and sustainable equipment, which can be scaled up across the country and re-used or recycled more efficiently.
• We need new and creative solutions around accessible waste management, food and water use, and power supply.
• We should acknowledge that sometimes there might not be a solution available yet that is both accessible and environmentally friendly. Disabled people sometimes might require the use of single use items, cars, or additional equipment but they should never be blamed or shamed for this.

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TEG-owned ticketing, data and analytics firm Ticketek is rolling out an online accessible ticket booking platform, with the aim to make purchasing tickets easier for people with disability and their companions, family and friends.

The Australian firm’s bespoke digital solution enables customers to choose specific seats within a venue to match their needs and buy both accessible and non-accessible tickets within the same transaction.

There are several types of accessible seating available through the new digital platform, including for customers who use wheelchairs, require easy access, have a vision impairment or use a hearing loop. Companion tickets can also be purchased – allowing fans with disabilities to redeem a complimentary companion ticket for any seat within a venue.

Accessible seating can now be booked online for selected events at more than 30 venues including Allianz Stadium (NSW), Suncorp Stadium (QLD) and Sidney Myer Music Bowl (VIC). The digital booking option will be gradually rolled out to other venues where Ticketek is the authorised ticketing provider.

“At Ticketek, we believe that all Australians should have equal opportunities to attend their favourite events”

Ticketek says it has listened to customer feedback and consulted with government bodies, industry partners, and advocacy groups including Spinal Life Australia and the Physical Disability Council of NSW to improve the booking experience of people with disability, which accounts for around 1 in 6 (18%) or 4.4 million people in Australia.

“At Ticketek, we believe that all Australians should have equal opportunities to attend their favourite events,” says Cameron Hoy, managing director Ticketek. “Offering an ideal purchasing experience for accessible seating is a project we hold close to our hearts. We are aware that the process has not been as easy as it should be to date, so we are delighted to be delivering this improved experience for fans and their companions.

“Our engineers have built a truly world-class and equitable experience and I could not be more proud of our work and dedication to date. In particular, I would like to thank industry partners, advocacy groups Spinal Life Australia and the Physical Disability Council of NSW and the many customers who have assisted us in designing this solution.

“Like all technology, it will continue to evolve over time. Ticketek are committed to work with our partners, advocacy groups and industry stakeholders to ensure our solution continues to meet industry standards, and leverages the latest technology available to facilitate the best user experience for all consumers.”

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Live events accessibility charity Attitude is Everything has partnered with the Association of Independent Festivals (AIF), the Association of Festival Organisers (AFO) and the British Arts Festival Association (BAFA) to support their memberships to play their part in making 2023 the most accessible summer yet.

Collectively, these organisations represent more than 200 events that attract more than 1m ticket buyers each year. Members include some of the UK’s best-loved music and arts festivals, such as Boardmasters, Boomtown Fair, End of the Road, Cambridge Folk Festival and the BBC Proms.

Under the banner #FestivalsWithoutBarriers, the associations and festivals have been issued with three calls to action in order to help improve the live event experience for, and increase the attendance of, disabled customers:

• Plan to provide quality access information to disabled audiences at the point of tickets going on sale by implementing Attitude is Everything’s Access Starts Online guidance.
• Integrate questions about access requirements into the artist booking process.
• Implement practical changes to make festival workplaces and festival volunteering accessible to disabled people.

Attitude is Everything will support AIF, AFO and BAFA members to implement these actions via their existing Access Starts Online and Accessible Employment Guide publications, alongside the publication of new guidance on inclusive artist booking for festivals and a forthcoming guide to accessible volunteering.

In addition to these resources, the partnership between the four organisations aims to offer members:

• Introductions to Attitude is Everything’s Live Events Access Charter and subsidised Disability Equality Training, delivered in part by participants on the charity’s Future Leaders programme for aspiring disabled event industry professionals.
• A series of symposiums on implementing the four guides.
• Opportunities to learn from the lived experience of disabled audience members, artists and professionals drawn from the charity’s three networks of disabled people.

“The experiences of disabled people over the 2022 festival season appear to have been quite mixed”

On the announcement of the initiative, Suzanne Bull MBE, founder of Attitude is Everything, says: “I see this new partnership between Attitude is Everything, AIF, AFO and BAFA as a powerful force in transforming the industry. The experiences of disabled people over the 2022 festival season appear to have been quite mixed, especially when it comes to availability of pre-event information, booking accessible tickets and the level of access onsite. Working together we will drive through the change necessary to improve access for disabled audiences, artists, employees and volunteers. As a disabled person, I’m looking forward to a stress-free festival season in 2023!”

Paul Reed, outgoing CEO of AIF, adds: “We’re very pleased to expand our long-term partnership with Attitude is Everything on this initiative. It has been seven years since we launched Access Starts Online together and this expands the remit to artists, changes in the workplace and vital training opportunities for AIF members. Accessibility at festivals is truly a cross-sector issue and it’s hugely positive to see our friends at AFO and BAFA also get onboard. Let’s work together to ensure that 2023 is the most accessible year for UK festivals yet.”

Steve Heap, general secretary of AFO, comments: “The Association of Festival Organisers (AFO) has been working alongside Attitude is Everything for some years now in a drive to improve accessibility both in the audience and on stage for deaf and disabled people. The AFO is now very pleased indeed to be sitting with such a powerful and positive organisation that intends to help guide members and increase access and participation in 2023. With 14.6 million people in the UK being disabled there is a vast potential audience that may not be attending festivals for fear of inaccessibility. Here at AFO we are now discovering more and more disabled performers who could form part of our programme and helping our AFO members make their festivals more accessible. We look forward to supporting and working with Attitude is Everything for some years to come.”

Fiona Goh, director of BAFA, says: “British Arts Festivals Association (BAFA) is delighted to be working alongside its sister organisations, AFO and AIF, in helping to make 2023 the most accessible year yet for UK festivals. Our partnership with Attitude is Everything will help guide our members to increase access and participation by disabled audiences, artists and staff, beginning at the point of sale and running right through festival delivery. There’s never been a more important time to ensure that festivals are accessible to all, and we look forward to seeing a more diverse and inclusive audience in our festivals next year.”

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Accessibility charity Attitude is Everything has published a ten-point ‘live music checklist’ to help ensure deaf, disabled and neurodivergent fans are made welcome when full-capacity events are allowed to resume in the UK.

Created by the UK’s cross-sector Audience Access Alliance, the initiative is designed to apply to any kind of venue or event and has been widely endorsed throughout the music industry.

With full-scale events in the UK anticipated to resume in coming weeks, Attitude is Everything has urged the country’s music and event industries to adopt its checklist as part of their reopening plans – making sure that the needs of deaf, disabled and neurodivergent (mentally ill or developmentally disabled) fans are considered as included in the reopening strategies for gigs and festivals.

The Audience Access Alliance, launched last year, is a coalition of 13 disability and accessibility organisations and networks that have united to remove barriers for cross-sector audiences across the UK, and is being replicated across the cultural, entertainment and sports sectors.

Designed to apply to any venue or event – from football matches and outdoor festivals to heritage sites, music venues, tourist attractions and theatres – the checklist enshrines the key understandings and policies required for reopening to be fully accessible for deaf and disabled people, many of whom are desperate to start attending shows again.

“The ten-point Accessible Reopening Checklist is designed to help any venue or event get ready to welcome back deaf and disabled people,” says Attitude is Everything founder Suzanne Bull. “It’s free and easy to use, so there’s no reason for promoters, venue managers and event organisers not to embrace and implement this checklist.

“Deaf and disabled people are looking forward to returning to an inclusive world of sports, arts and culture”

“Deaf and disabled people are artists, employees, volunteers and fans, and they’re looking forward to returning to an inclusive world of sports, arts and culture.”

The full Accessible Reopening Checklist runs as follows:

Any venue or event reopening to the public should be able to say “yes” to these things:

1. We agree that every person has the right to assess their own level of risk.
2. People can find facts on our website about accessibility and Covid-19 safety to make informed decisions.
3. If we have tickets on sale, deaf, disabled and neurodivergent people can arrange the access they need.
4. No one is advised against visiting our event or venue.
5. No one will be challenged about their ‘risk status’ at our entrance due to a perceived ‘vulnerability’.
6. Attendees are not expected to bring a doctor’s note if unable to wear a mask.
7. Our Covid-19 safety measures are accessible for everyone.
8. Our street furniture does not obstruct accessible parking or access routes for attendees or pedestrians.
9. Our staff have been trained in disability awareness and understand our access provision and COVID-safety measures.
10. We are committed to listening to deaf, disabled and neurodivergent people and engaging with any new audiences gained online during lockdown.

Jane Beese, head of music for Manchester International Festival and chair of the LIVE Equality, Diversity & Inclusion group, comments: “When live music returns, it’s imperative that all audiences are able to head back into venues as quickly and safely as possible. This checklist is a great reminder of the needs of deaf, disabled and neurodivergent people.”

“Attitude is Everything continues to provide guidance and awareness raising about access issues that are practical but also acknowledge that not everyone might have this in place,” says Beverley Whitrick, strategic director for Music Venue Trust. “The Accessible Reopening Checklist helps identify areas that might need further work so we will be sharing this within our grassroots music venue community.”

The checklist follows recently published guidance from Attitude is Everything on venue reopening and accessible employment.

Read Suzanne Bull’s recent piece for IQ, which urges the UK industry not to shut out disabled people when it reopens, here:

Live music’s recovery must be inclusive

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Like everyone, I’m feeling hopeful as the live events industry slowly starts to open up as best it can after what we hope is the worst of the pandemic. The impact of this on the industry, further compounded by Brexit, has been immeasurable for those working in it, the artists, and also the fans.

However, the consequences for deaf and disabled people have also been profound and of real concern to me. I’m well-placed to comment on it because I’m a disabled person and founder of Attitude is Everything – a charity set up to improve deaf and disabled people’s access to music and live events.

For 21 years, Attitude is Everything has worked to connect deaf and disabled people with music and event industries to improve access together. Over 200 music venues and festivals have signed up to our Charter of Best Practice, endorsed by government as the industry standard for accessibility. With our support, the live music industry has worked hard to make gigs and festivals inclusive and accessible, but I fear that the current landscape is now looking grim for our community being able to return to live events as we wish.

We need the industry to actively welcome back deaf and disabled people. In a bid to support the industry in this effort, we recently published our Access Guide: Reopening Your Venue.

Being in the group deemed clinically extremely vulnerable (CEV) myself, I was angry to be told that I could not attend early pilot events. Thankfully, following interventions by us and other partners, the language has now shifted away from this. Disabled people simply need the facts about accessibility and Covid-safety measures in order to make our own judgments about what we attend. No venue or event should ever make that decision for us.

Online information has never been more important. I know from previous data collected by Attitude is Everything that 60% of disabled people won’t buy a ticket if there isn’t any access information, and subsequently feel that the event “isn’t for them” if they can’t find the information. While I’m delighted to see live music returning to our towns and cities, I’m deeply concerned about deaf and disabled people being forgotten about or simply viewed as ‘vulnerable.’ I know of at least ten events that have gone live selling tickets without having staffed access booking services. Without strong policies in place, there is also now a real risk of disabled people being challenged on entry if staff make assumptions on a person’s vulnerability based on a ‘visible’ disability. This cannot happen.

I’m currently left wondering just what I have achieved in 30+ years of work to improve the cultural offer to disabled people

I’m currently left wondering just what I have achieved in 30+ years of work to improve the cultural offer to disabled people in the UK. However, I am heartened to know that many trade bodies, promoters, festival organisers and venue managers share my concerns about the current levels of exclusion and where this might lead in the future if left unchecked.

There needs to be a collective effort now to reverse recent messages that make certain people in our society feel unwelcome in the drive to return to live music events. I’m finding that disabled people need lots of reassurance and not all disabled people are confident about attending events in the future. We are not talking about a few people: in the UK, over 2.2 million people were told to shield, and 20% of the UK population is classed as ‘clinically vulnerable’ to Covid-19 – millions of whom are disabled people. And when I say disabled people, I mean audiences, artists, volunteers and employees.

To bring it home, some of the staff, trustees and volunteers at Attitude is Everything are in the clinically vulnerable groups. Of course, inclusion isn’t just a Covid-19 or reopening issue. Our most recent publication – our Accessible Employment Guide – provides tips on how employers can make workplaces as accessible as possible, far beyond responding to the times we find ourselves in currently.

I’m expecting to return to live music shortly, to work and to enjoy myself! For the first time in my life, I found myself excluded from society when the pandemic hit. Given the choice, I’d go out every single night of the week. I’ve spent over a year locked away in my flat because I was also diagnosed with breast cancer in March 2020, and this, plus my impairment, placed me in the CEV group. For 30 years, I partied my life away and then I was told to stay in. Who in their right mind would want to do that?

Why would I want to stay home when there are so many beautiful bands out there?

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UK charity Attitude is Everything has published its first Accessible Employment Guide to boost the inclusion of deaf and disabled workers in the commercial music industry.

Research suggests that disabled people are underrepresented at all levels of the British music industry, despite significant increases in disabled audiences at live music events and the fact that 19% of working adults are considered disabled under the UK’s Equality Act 2010. Additionally, a study published by UK Music in April found that one in five disabled people in the industry had faced discrimination at work.

Aimed at businesses of all scales, but particularly small companies without extensive HR resources, the free downloadable publication offers simple and straightforward tips on how to attract talented deaf and disabled workers, with advice on job interviews, accessible meetings, suggested adjustments to office and work environments and more.

Paul Hawkins, Attitude is Everything’s head of volunteering and skills development, says: “Our research shows that deaf and disabled people face barriers applying for jobs in the music industry and that many of those with impairments or health conditions who do work in the industry are concerned about the consequences of identifying themselves as disabled, especially if they are freelance or not in secure employment.

“Over the last year, we’ve found that there is a lot of desire for a more inclusive and diverse industry but that organisations are not always sure of the steps needed to make that happen. Our Accessible Employment Guide is designed to be clear and concise and to give companies the information they need to start making changes today.

“The music industry should lead the way when it comes to ensuring that everyone with an impairment has the opportunity to forge a successful career”

“The events of the last year have turned many conceptions about the workplace on their head and we’re keen to support the music industry to build back for all and for the industry to come back a stronger, more effective and more diverse place where everyone can succeed based on their talents. We hope that this guide will help to make that happen.”

“This fantastic Accessible Employment Guide from Attitude Is Everything outlines how everyone can help improve access for disabled people to work in the music industry,” adds UK Music chief executive Jamie Njoku-Goodwin.

“Around 12% of people working in the music business have an impairment or long-term health condition, according to the UK Music Workplace Diversity survey. The music industry should lead the way when it comes to ensuring that everyone with an impairment has the opportunity to forge a successful career in a sector that employs 200,000 people and contributes £5.8 billion to the economy.”

The Accessible Employment Guide is part of Attitude is Everything’s Beyond the Music programme, a three-year initiative funded by the National Lottery Community Fund to improve accessibility to the music and live events industries for deaf and disabled professionals, employees and volunteers.

As part of the programme, the charity has already established the Beyond the Music Network, comprising deaf and disabled people working or seeking to work in the industry, and a Venues Advisory Group that can contribute expertise from the Barbican, the Brighton Centre, Manchester Arena, the SEC, the South Bank Centre and Norwich Arts Centre.

To download the Accessible Employment Guide, click here.

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Individuals and events will be crowned across 11 categories at the Arthur Awards Winners’ Dinner on 5 March, as the music industry’s response to the Oscars returns to the glamorous Sheraton Grand Park Lane hotel.

Last year’s 25th anniversary awards saw success for Britannia Row’s Bryan Grant, FKP Scorpio’s Folkert Koopmans, ICM Partners’ Kevin Jergensen and Live Nation’s Selina Emeny, as well as the teams at the Royal Albert Hall, British Summer Time Hyde Park and Mad Cool Festival, among others.

As the Emma Banks-hosted ceremony draws ever closer, IQ chats to some previous winners to find out what receiving an Arthur meant to them and to discover their biggest hopes and dreams for the future.

Up first is Andrew Parsons, managing director of the UK division of Ticketmaster, four-time recipients of the Arthurs’ Golden Ticket award.

Arthur has been very kind to us over the years. Well, every other year really but who’s counting? (I am). It is always great to receive recognition from within the industry but all the more so from a room full of event partners past, present and future to whom we owe so much. Even if half of them won’t remember who actually won anything come that painful next morning!

Arthur resides on the edge of a desk, where all awards should be kept. He unfortunately took a bit of a battering on the night though from victory laps with team TM. So, Arthur’s head is now somewhat disconnected from his pedestal.

It is always great to receive recognition from within the industry, all the more so from a room full of event partners past, present and future

Emma Banks’ regal-like presenting performance at the Arthurs is always very good value. And Alex Hardee’s stand-up routines are now pretty legendary. Overall though, it is that the awards do not take themselves too seriously that makes them so unique and such a positive experience – nothing that will overly get in the way of a good dinner with friends.

ILMC is a great opportunity to catch up with friends and colleagues from other territories. Our Ticketmaster Australia ticketing cousins always live up superbly well to all the stereotypes and are a guaranteed excellent night out every time.

On a serious note to finish, 2019 was the year we brought accessible ticketing online and mobile. All fans should be able to have the same level of access to buying tickets the way they want on any given on sale and we were determined to make that happen. It was also the year that digital tickets exploded onto the scene opening up so many opportunities. We can’t wait to see where 2020 takes us.

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NEC Group’s 15,800-capacity Arena Birmingham offered audio description to its visitors for the first time at the Marvel Universe Live shows on 5 to 8 December.

To provide the service, Arena Birmingham partnered with VocalEyes, a charity supporting blind and partially sighted people’s access to the arts. The implementation of audio description followed a request from a customer whose sons are visually impaired.

A team of describers, who view an early performance of the show and prepare a script, offered real-time narration via headsets, making the show more accessible to those with all levels of visual impairment.

“It meant so much to my family that we were able to enjoy Marvel Universe Live! with audio description,” comments Claire Eccles, the customer who requested audio description at the arena. “My sons are both severely visually impaired and love coming to live events, but it’s often hard for them to work out what’s going on. I try my best to explain but it’s difficult.”

“We believe that blind and partially sighted people should have the best opportunities to experience  the arts, and it’s great to work with a venue the size of Arena Birmingham to offer audio description”

Eccles adds that, “the smiles when they put the headsets on said it all. They can’t stop talking about the fantastic time they had – it made such a difference to their experience. I can only hope more local venues will follow suit.”

According to Emma Ball, operations manager at Arena Birmingham, both the venue and Resorts World Arena, “put a relentless focus on ensuring our world-class entertainment is as accessible as possible for our broad and varied audiences.”

The arenas have introduced British Sign Language interpreters to shows over the past year, with audio description being “the next logical step”.

“We believe that blind and partially sighted people should have the best possible opportunities to experience and enjoy both the arts and heritage, and it’s great to work with a venue the size of Arena Birmingham to offer audio description to even bigger audiences,” says Michael Kenyon from VocalEyes.

“They are the first arena to come on board with us and to be able to help bring a show of this scale to life is very exciting for us.”

NEC Group arenas also recently committed to rolling out teams of mental health first aiders across a number of shows.

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Improving accessibility is a new priority for the Japanese music business, as industry associations work with UK-based music charity Attitude is Everything to establish the first steps to becoming more inclusive.

Japanese promoters’ association, the All Japan Concert and Live Entertainment Promoters Conference (ACPC), hosted the charity, which is dedicated to improving deaf and disabled people’s access to live music, as its first international guest at the Tokyo International Music Market (Timm) conference last month.

Attitude is Everything presented five key, universal concepts that underly its work: access is about identity, connection, passion and escapism; accessibility is relevant to everyone; people are disabled by the barriers they encounter; creativity and collaboration are key; and disability affects a diverse range of people, who are the real experts on accessibility.

“Although there are some challenges in terms of budget limitations and venue facilities, let’s get the ball rolling from what we can fo on our own”

A panel discussion entitled ‘Music Without Barriers: Improving Accessibility to Live Entertainment’, followed the presentation, hosted by ACPC, Japanese Music Culture Export and supported by Japan’s British Council.

The panel was moderated by Manami Yuasa, head of arts at British Council Japan and featured panellists Gideon Feldman, head of programming at Attitude is Everything; Jacob Adams, head of research and campaigns at Attitude is Everything; and ACPC director Nobuhiro Nagai.

“Although there are some challenges in terms of budget limitations and venue facilities, let’s get the ball rolling from what we can fo on our own,” urged the panellists.

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