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Attitude is Everything (AIE) founder Suzanne Bull MBE will depart the UK-based disability music charity after 25 years.
Bull will step down from her position at the end of March to pursue new projects across the arts, culture and breast cancer advocacy. AIE, founded in 2000, works to connect disabled people with the live and event industries and to improve access together.
“As many of you will be aware, I live with a cancer diagnosis as well as being disabled,” she says. “In March 2025, I’ll be halfway through my treatment, so this seems like a good point for me to live life at a slower pace and have the opportunity to pursue my other interests.”
“It’s been a privilege to have been part of a team that makes real change, and I hope that I’ve contributed to making disabled people’s lives more bearable through music.
“This decision hasn’t been easy, because working at Attitude is Everything is my dream job. But although I’m sad to be leaving, I know that the organisation will continue to thrive for many years to come, until one day, we’ll be able to say that there are no barriers to disabled people going to, performing or volunteering at, or working in live events.”
Paul Hawkins, AIE’s head of skills development, will step in as interim managing director until a new CEO is installed.
“The company is in a very strong position to move forward”
Managing director Celia Makin-Bell is also set to leave the charity in mid-January to take up a new position.
Since joining in July 2021, Makin-Bell is said to have played a crucial role in the team’s stability, doubling turnover since the COVID-19 pandemic, increasing staff, and attracting new investment from sources including Arts Council England.
“I am sad to be leaving Attitude is Everything, but I’m incredibly proud of all that we’ve achieved over the last few years. The company is in a very strong position to move forward, and to continue delivering the kinds of impactful change that is still so vitally needed,” Makin-Bell says.
“I have greatly enjoyed working with Suzanne and have learnt so much from her, as well as having a lot of fun! I think our experience of co-leadership shows how different strengths, personal qualities and experiences can come together in a really positive way.”
Jacqui Adeniji-Williams, AIE co-chair, says the reshuffling signals a new phase for the charity.
“Perhaps the greatest testament to Suzanne and Celia is how they’ve built such a resilient and robust organisation, and one which is well placed to support even more people and remove even more barriers. Going forward we are now fully focussed on finding a new leader with the skill set and ambition to deliver on those aspirations.”
In recent years, AIE has delivered a series of ‘sobering’ reports detailing the state of the UK music experience for artists, fans, and professionals alike.
In September, the charity detailed the systemic barriers disabled UK musicians face; in June 2023, AIE joined with Black Lives In Music to assess the roadblocks Black disabled music creators and professionals face.
AIE also launched the Live Events Access Charter to encourage event organisers to build disability equality into all aspects of their venue or event and to make improvements in response to feedback from Deaf, disabled and neurodivergent people. A new charter is due to be launched next month.
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Disabled musicians experience significant and systemic barriers in the UK music industry, according to a new report from disability music charity Attitude Is Everything (AIE).
The report, titled Next Stage Snapshot, collated responses from 71 Deaf, disabled, and neurodivergent artists, many of whom reported experiencing discrimination as they’ve developed their careers. Attitude Is Everything’s third report since 2019 assesses the numerous challenges disabled artists face during project development, delivery, and live performance.
Of the 94% who have performed live, only 60% shared access requirements with their promoter — but just 20% reported feeling confident doing so, despite being protected by the UK’s 2010 Equality Act. The law prevents discrimination on the basis of age, disability, sex, race, gender reassignment, and other characteristics.
Less than half of the music creators surveyed said they felt confident applying for financial funding, and a mere 10% expressed confidence in self-promoting their artist brand and music.
The report states: “Many disabled music creators are concerned that their music will be seen as secondary to their lived experience of disability.”
Disabled artists reportedly experience a pay gap of £4,000, according to the Musician’s Union’s 2023 Census, further challenging the short- and long-term development of these makers.
“Uprooting inaccessible practices in the music industry would enable everyone to flourish,” says Hillary Juma, AIE artist development manager. “We hope that in sharing our members’ voices in the Next Stage Snapshot everyone in our industry who works with Deaf, disabled and neurodivergent music creators (disclosed or non-disclosed) will be inspired to take action with us to make the industry more accessible.
“We all have the power to make change for the better if we build collectively.”
“We can create a music industry that empowers disabled artists to have fulfilling, sustainable and safe careers”
To better support disabled creators, the report outlines multiple domains where improvements can be made. In addition to improvements in funding opportunities and digital marketing, Next Stage Snapshot calls for live promoters to work with venues that provide accessibility to better protect artists’ rights.
AIE continues to champion the charge with its Next Stage initiative, which launched in 2018, by providing workshops, events, and peer-support networks for disabled musicians. Next year, the charity will relaunch the Live Events Access Charter to provide more guidance on how the industry can better support artists’ access needs.
Artist Elle Chante says: “I’d like to imagine a future in which it’s normal for funding opportunities to recognise and support access needs — from application to project end. Where alternative, flexible ways of working and marketing become widely accepted. Where live showcases are supportive of both audience and artists’ needs.
“I truly believe that with more accessible funding and approaches we can create a music industry that empowers disabled artists to have fulfilling, sustainable and safe careers.”
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Australia’s Ability Fest is expanding to a second city in 2024, with editions in Melbourne (Victoria) and now Brisbane (Queensland).
The non-profit event – said to be the world’s first annual music festival aimed at normalising disability – raises money for the Dylan Alcott Foundation to help empower young people with disability to achieve their ambitions.
Dylan Alcott, an Australian four-time Paralympic gold medalist, presents the event in collaboration with Untitled Group (Beyond The Valley, Wildlands) and radio station Triple J.
Together, they will hold a fifth edition in Melbourne’s Alexandra Gardens/Birrarung Marr in Naarm on 19 October, and launch a new edition in Brisbane’s Victoria Park/Barrambin in Meanjin on 26 October.
“I’m so proud to see the path Ability Fest has already paved for inclusive events across the country”
Ocean Alley, ONEFOUR, Cub Sport, King Stingray, Bag Raiders, Brenn!, jamesjamesjames, Kita Alexander, Asha Jefferies, Eves Karydas, Jordan Brando, Middle Kids, Floodlights and Wax’o Paradiso are among the acts that will perform at one or both of the events.
Each festival has adopted accessible features including Auslan (Australian sign language) interpreters, accessible parking, accessible drop-off and pick-up zones, accessible bathrooms & changing places, elevated viewing platforms, BindiMaps, assistance dog area, designated chill spaces & sensory zones, tactile sensory silent disco and more.
General tickets go on sale at 12 pm AEST on 11 July at $60 (€37) with all proceeds going to the Dylan Alcott Foundation.
To date, Ability Fest has raised over $1M for the foundation, which has helped fund scholarships, mentoring and grants for young people with disability.
“I’m so proud to see the path Ability Fest has already paved for inclusive events across the country,” says Alcott. “First and foremost, our main priority is to create a kick-ass festival that happens to be accessible. And that’s something I think we’ve achieved since launching in 2018.”
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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:
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:
“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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In a departure from its usual work improving accessibility for disabled concert- and festivalgoers, UK music charity Attitude is Everything has launched Next Stage, an initiative aimed at boosting the careers of British artists with impairments or long-term health conditions.
Supported by Arts Council England, Next Stage is inspired by existing industry initiatives, such as ReBalance and Keychange, that encourage greater inclusivity and diversity in live music.
Its goal is twofold:
1) To overcome the “knowledge gap” surrounding disabled musicians
“Deaf and disabled artists have made and continue to make a significant contribution to British music,” explains the charity. “But there is an overall lack of information about their work and livelihoods. For instance, what challenges do individuals with impairments face in studios and at venues? How comfortable are artists with sharing their experiences and needs? What development opportunities need to be more inclusive?”
To tackle this “knowledge gap”, as part of Next Stage Attitude is Everything has created a survey seeking views on issues ranging from access requirements at live shows to studio recording and arts funding applications. Submissions are encouraged from artists, musicians, songwriters, DJs and music creators of all backgrounds and across all genres.
The survey findings will be presented and discussed at the Great Escape in May 2019.
“Next Stage is an ambitious departure for Attitude is Everything”
2) To boost talent development and create more accessible music industry
“UK Music, the industry’s umbrella organisation, has identified a number of challenges that might thwart the future success of UK artists and imperil the UK’s ‘talent pipeline’,” says Attitude is Everything. “It is imperative that disabled musicians are involved in this conversation.
“Talented individuals cannot be allowed to fall through the cracks, and it is vital those with physical or mental impairments receive sufficient support to help develop their art and creativity.”
Drawn from the survey findings, Next Stage’s secondary phase will be to develop a comprehensive artist network, connecting the aforementioned individuals with access requirements to showcase, as well as funding opportunities, breaking down barriers to live performance.
The campaign is also being supported by a number deaf and disabled musicians, including Blaine Harrison of the Mystery Jets, rapper Signkid, Rob Maddison of Revenge of Calculon and Kris ‘Winter of ’82’ Halpin.
“I believe we can build a thriving network of talent”
Suzanne Bull MBE, CEO of Attitude is Everything, comments: “Next Stage is an ambitious departure for Attitude is Everything. We have spent almost 20 years working for disabled audiences and now, with support from Arts Council England, we want to improve accessibility for disabled artists.
“This process will not be easy. The challenges facing deaf and disabled people are often hidden, and rarely discussed publicly. There are a range of stigmas and sensibilities. So our first goal is to collect information through a comprehensive and wide-reaching survey.
“By paying attention to artists’ voices, I believe we can build a thriving network of talent that will enhance British music and benefit all in the wider music community.”
“This project brought music to life – in my language,” adds Signkid.
To take the Next Stage survey, click here.
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In August 2016, Kayla Hanna was queueing up at the Belfast Vital festival (formerly Tennent’s Vital) ready to see Red Hot Chili Peppers when a member of staff from security company Eventsec told her she wasn’t allowed to bring in her bottle of Lucozade.
As a type-1 diabetic, Hanna uses the energy drink to boost her blood sugar levels if they dip too low. After explaining this to security staff and showing them the tattoo on her wrist that also indicated her diabetic status, a security guard continued to refuse her entry with the drink, saying “anyone could have that [tattoo]”. Speaking about the encounter, Hanna says: “I also showed her my insulin pack and the meter used to check my levels.
“She consulted with another guard and they insisted that they had a strict policy and they would not allow me to bring the drink inside.”
After reluctantly giving up the drink, the following concert was filled with anxiety for the student. She says: “I was very anxious and upset throughout the concert. I was afraid something would happen to me and I would not have the Lucozade.”
After the incident, Hanna contacted the Equality Commission for Northern Ireland, who brought her case before Belfast County Court, alleging a breach of the Disability Discrimination Act. The findings of the court stated that Eventsec had not made adequate adjustments to their security policy to allow Hanna to bring in the necessary drink.
A security guard continued to refuse her entry with the drink, saying “anyone could have that tattoo”
The news of Hanna’s compensation comes at a time when security policies at concerts and festivals are becoming tighter and tighter. Around the world, venue owners and operators are responding to heightened terror levels and threats. The concern for many, however, is that these measures will impact disabled people like Kayla Hanna negatively.
Mary Kitson, senior legal officer at the Equality Commission for Northern Ireland, has highlighted the need for consideration of the Disability Discrimination Act in the face of increased measures. She says: “These are the kind of circumstances in which the reasonable adjustment provisions in the Disability Discrimination Act can be most beneficial.
“They are in the act to ensure that people with disabilities are not denied access to services by reason of general policies which can, in themselves, be otherwise justifiable and necessary.”
An Eventsec spokesperson says it was welcomed the judge’s decision, in which they acknowledged the company had “considered what reasonable adjustments needed to be put in place in order to meet the needs of those patrons with diabetes”. “The facts surrounding this case were an isolated incident,” they add.
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