50 years of ‘love’: Phil Bowdery’s golden term
Education is a mantra in Phil Bowdery’s life. “I’ve said to my children many times, ‘Don’t do as I do, do as I say,’ because I was out of school by the age of 15, playing in a band,” he confesses. Still, as one of the doyens of the live music sector, his early departure from school hasn’t served him too badly.
Starting life on the road as the drummer for a band called Choc Ice, Bowdery’s early experiences saw him rubbing shoulders with some of the great and the good of the music business. “Our guitarist was Gordon Gaynor, who I still catch up with now and again,” he says. “But our claim to fame was we had a little bit of a break and made a record with Pye, which was the label in those days.”
Gaynor tells IQ, “I met Phil through Ray Stiles, who was bassist for the band Mud. So Phil joined us on drums, gigging most weeks, and when we stayed out the night I’d share a room with Phil, which was a laugh. When we went to Germany for the first time, we lived on pizza for a month, playing three [one-] hour sets a night – great fun!”
“We used to meet Stevie [Wonder] and his band at a hotel in Mayfair, and we all went on the tour bus together”
Bowdery continues, “We became the backing band for Mac and Katie Kissoon. Katie is now one of Eric Clapton’s backing vocalists, but she and her brother had quite a big hit at the time, and we ended up on the road with The Supremes and also Stevie Wonder, which were both Arthur Howes tours.”
Gaynor comments, “We used to meet Stevie and his band at a hotel in Mayfair, and we all went on the tour bus together. I remember to this day, Phil and I sitting in Stevie’s dressing room as he played us tracks from his first synth album, Music of My Mind; it blew us both away. I have some really fond memories with Phil.”
Indeed, another claim to fame was Bowdery’s part in one of Wonder’s biggest hits. He recalls, “One day at soundcheck, he had this huge boombox that he was using to record stuff, and he asked me to play a rhythm while he recorded. So, in theory, I played on the original demo of You Are the Sunshine of My Life, which is pretty nice because I now promote Stevie Wonder in Europe.”
“In theory, I played on the original demo of You Are the Sunshine of My Life”
When the wheels came off…
The heady heights of life as a support act were short-lived, however, and Bowdery put aside the drumsticks barely a year after hitting the road. “Things in the band were beginning to fall apart, and suddenly the van wasn’t working, and that was sort of the final straw,” he recalls.
“I was 16 at the time, but I still wanted to be involved in music, so I became the non-driving roadie for Mud, who were from my hometown. I got paid £12 a week. When I was old enough to drive, Mud started to have hits, and as the band got bigger and the crew got bigger, that enabled me to become their production manager, then the tour manager, and then I became part of the management team.
“With Mud we were doing clubs and things – there was a chain in Manchester that owned three venues where we’d open up the first club, we’d be middle of the bill on the second, and top of the bill on the third one. So you ended up doing three shows per night in three different venues, which made it worthwhile. When I think about it, we’d break our heads to play a show – I remember going from London to Sunderland [a distance of 275 miles (443km)] for a £40 gig.”
“I remember going from London to Sunderland [a distance of 275 miles (443km)] for a £40 gig”
When Mud’s fame began to wane, Bowdery saw the potential to earn some extra cash for the act. “We purchased the sound system,” he explains. “I did the deal with Dave Martin, from Martin Audio, himself. And on the back of that, we started a rental company, which I was running as well.”
The shrewd piece of business opened unexpected doors. “The sound company did work with Renaissance, and when their manager, John Scher, decided not to fly in their regular guy from the States, I became their sound engineer,” explains Bowdery.
And his enthusiasm obviously impressed. “I quickly became the band’s tour manager and toured America with them.”
That introduction to America lit a fire. Following Renaissance, Bowdery found himself on back-to-back tours with Charles Aznavour across the States, and, thanks again to the sound rental operation, he also began his long association with Leo Sayer.
“I quickly became the [Renaissance]’s tour manager and toured America with them”
“I came to Barry Clayman via the sound company, as we were working with some of the acts that MAM were promoting,” says Bowdery. “Barry and I just hit it off from day one – I still speak to him on a daily basis, often multiple times.
“When I decided that humping gear was no longer for me, I became Barry’s promoter’s rep for a Leo Sayer tour. I think the first tour was 1979. Leo and I got on like a house on fire, so it got to the point where he asked me to work for him full-time, so I left the sound company and Mud and worked for Leo straight through to ‘85, when he came off the road.”
In the meantime, Barry Clayman made the decision to depart MAM having sold the business to Chrysalis. “I’d always recognised Phil’s potential, so a few years after the Chrysalis deal, I decided to start my own company – Barry Clayman Concerts [BCC] – and I asked Phil to come with me,” Clayman tells IQ.
“When I decided that humping gear was no longer for me, I became Barry’s promoter’s rep for a Leo Sayer tour”
Bowdery recalls, “A year or so into BCC, we got Michael Jackson and did our first tour with him in ‘88. That really helped establish the company as a serious player.”
Indeed, Clayman reveals, “We did seven Wembley Stadiums with Michael Jackson – 560,000 tickets, and every single one was a paper ticket bought in person at a box office or a ticket outlet. Phil ran all of those shows. In fact, at one date when Jackson failed to appear, it was Phil who went on stage to calm the crowd and explain the date would be rescheduled.”
Bowdery says, “I introduced computers to BCC. Michael Jackson’s tour manager, John Draper, had the first Mac I’d ever seen – this bright-green machine, and it just changed everything. Instead of sitting with a piece of paper, a calculator, a pencil and a rubber, doing costings, we started putting them into sheets with formulas.
“We did seven Wembley Stadiums with Michael Jackson – 560,000 tickets, and every single one was a paper ticket”
“I’ll never forget Barry asking what would happen if we put the ticket price up by 50 pence: he couldn’t believe that we could make all the calculations so quickly… I’ve still got all the old figures. I sometimes like to go back and have a look and just see how I did things.”
Leaving on a jet plane
Having Clayman as a mentor, Bowdery took on more and more responsibility, but his first fully promoted tour turned out to be a bittersweet memory.
“The first tour that I promoted, completely sold it myself, was John Denver in 1997. Even though it was a Barry Clayman tour, the credit line was ‘Phil Bowdery for Barry Clayman Concerts,’ which I really appreciated,” he states. Sadly, it would be the final time Denver would visit Europe.
“We played golf a couple of times, and he was talking about this new plane that he’d just bought as a kit and how he was looking forward to seeing it when he got back home. And that was the plane he died in, literally four or five weeks after we finished the tour.”
“The first tour that I promoted, completely sold it myself, was John Denver in 1997”
Immersing himself in the international side of BCC’s operations, Bowdery started to rub shoulders with many peers who have since become colleagues at Live Nation.
“It allowed me to learn the European side by starting to use different promoters around Europe. So, through the likes of John Denver or Tom Jones – for whom I sort of acted as his agent from about 1987 – I got to know Leon Ramakers and Herman Scheuremans and Thomas Johansson.
“That’s how I crafted my European knowledge, by getting to know all those guys – and most of them are now part of the Live Nation family, so it definitely helped that we had pre-existing relationships from when we were all independent.”
Johansson, who these days is Live Nation’s chairman of international music, recalls, “We met for the first time in Holland: Phil was there with The Rubettes for a TV show, and I was there with ABBA for the same programme. Ever since we have worked together with almost every artist in the world!”
“Through the likes of John Denver or Tom Jones, I got to know Leon Ramakers and Herman Scheuremans and Thomas Johansson”
Further south in Europe, Rob Trommelen at Mojo Concerts acknowledges Bowdery’s no-bounds enthusiasm in helping the artists he works with. Explaining that he knows Bowdery from his days as tour manager with Mud, Trommelen tells IQ, “I always enjoy Phil’s stories about his adventures [in the Netherlands] during the trips they made to a variety of clubs and local discotheques – he knows the names of many villages in the middle of nowhere. One day, he even showed me a video in which he joined Mud’s backing dancers!”
Of course, Bob Sillerman’s corporate kleptomania changed the live music business forever, and in 1999 when SFX turned its attention to BCC, Bowdery found himself as one of the principals in the new expansive operation – a position he built upon as Sillerman cashed out to Clear Channel Communications just four months after the BCC acquisition.
“When the company evolved, a position for a European touring chief became apparent,” says Clayman. “Phil was out of contract, but I suggested they speak to him and he became the new number one. I had great confidence in him because I always knew he had what it takes. He was a great learner and was always asking the right questions to expand his knowledge base – it’s me who asks him the questions these days.”
“[Phil] was a great learner and was always asking the right questions to expand his knowledge base”
With Bowdery given the title of executive VP, touring, Europe, when Live Nation spun off from Clear Channel in 2005, his role further expanded when he was promoted to executive president of touring, international, working closely with local partners to set up offices in Australasia, Asia and China, as well as Live Nation’s international touring activities.
Clayman adds, “I take huge satisfaction [in seeing] how successful he has been. On top of being a great music man, he’s a good guy, and he’s great with his staff.”
Because there are a full 24 hours in a day, workaholic Bowdery’s role in recent years has extended outside of his Live Nation remit. For more than six years, he has been chairman of the UK’s Concert Promoters Association, while more recently he has been heavily involved in the creation of LIVE, the UK trade body that represented the live entertainment sector so well during the pandemic restrictions.
Explaining how he first became involved in trade associations, Bowdery says, “Barry Clayman was one of the founding members of the CPA, along with Harvey Goldsmith, Paul Crockford, Danny Betesh, Stuart Littlewood and Carole Smith, who just celebrated her 30th year as CPA secretary. If Barry could not make a meeting, I’d go in his place.
“On top of being a great music man, [Phil] is a good guy, and he’s great with his staff”
“Back then, it was all about a PRS fight: they wanted to increase promoter rates from 2% to 6%, but thanks to the CPA, we managed to contain it at 3%.”
Indeed, the CPA recently emerged from another negotiation with PRS that saw rates rise to 4.2% of gross sales. “It’s tough, especially in the current environment,” admits Bowdery, who nevertheless piloted the CPA’s campaign to stymie PRS attempts to increase the tariff to 8%.
“With VAT going back to 20% from April, along with the PRS’s 4.2%, we’ll have 25% coming off the gross before we even start,” he warns. “That’s why we’re challenged, in the UK, to try to match offers that promoters make, particularly in America where there’s no tax in some instances. But it could be worse if it wasn’t for the fact that the CPA has given us a voice.”
Tres Thomas, senior vice president of operations and the global director of touring for Live Nation, commends Bowdery for his leadership skills, both within the company and at the CPA.
“Like myself, Phil is pretty much the road guy who has done everything”
“Like myself, Phil is pretty much the road guy who has done everything,” says Thomas. “When I first met him, I was working with the likes of Ozzy Osbourne, Ronnie James Dio, and Deep Purple, and Phil was the guy who started with production and settled the show afterwards – we’d argue over nickels and dimes and catering bills and all those things, but he was always a gentleman and always respectful.
“Phil taught me that the promoter/artists/agents table could be round – it didn’t need to be squared off, with battle lines drawn.”
Thomas adds, “Phil has done a wonderful job of mentoring the next generation – Sophia Burn, Ellen Proudlove, Gary McIsaac… He realises that the business will not be ours in ten years, so he’s making sure the next generation is prepared to take over.”
The importance of trade associations and support organisations has, of course, been underlined during the past couple of years, as the global pandemic shuttered touring activity around the world, leaving hundreds of thousands of workers without gainful employment.
“Phil taught me that the promoter/artists/agents table could be round – it didn’t need to be squared off, with battle lines drawn”
Revealing how his normal day-to-day routine simply stopped, Bowdery tells IQ, “I had Clannad playing the London Palladium on the 17 March , on their final tour. At the meet-and-greet in Birmingham, three days before, they all had gloves on. That was the first sign I’d seen of any response to the virus. But then I got a call from UTA telling me that someone who was at the gig got Covid. It was all so new to us that we started scrambling to put in safeguards.
“Then, when I was at a meeting at Heathrow on March 16, I got a phone call, and I was told ‘The office is closing. And by the way, the Palladium is closed. That’s it. No show tomorrow.’ And from that moment, my study at home became my office.”
While the industry initially started rescheduling gigs by a matter of weeks, it became apparent to Bowdery that Covid could be around for much longer, and he realised, along with a number of peers, that live music was dangerously under-represented in terms of government lobbying.
“The theatre business got pretty loud pretty quickly. But nobody was talking for us: there were a lot of people jumping up and down, but nothing was happening for us, so there was an urgent desire to at least try to be heard and put our situation front and centre as much as we could.”
“The CPA still means an awful lot to me, but LIVE is something that is even better”
Bowdery, alongside Kilimanjaro Live’s Stuart Galbraith and ILMC’s Greg Parmley, set about creating the LIVE trade association and putting together a strategy to lobby government ministers about the plight of the hundreds of thousands of professionals that depend on live entertainment for their income.
“I think we achieved an awful lot,” says Bowdery, underplaying the complexity of the task. “I really believe the reduction in VAT was down to us. I believe that the government’s creation of the relief fund was down to us. And there was an awful lot achieved by doing the test events – Melvin Benn’s test events at first, then everybody else elsewhere doing test events to prove that our industry is adaptable, and if people wanted to go to events, then we were more than capable of finding a way of getting them there safely.”
Understandably proud of those achievements, Bowdery says, “The CPA still means an awful lot to me, but LIVE is something that is even better – it gives us that umbrella organisation we’ve always been missing. In saying that, it’s important that we have all the different organisations feeding into LIVE because that will help to keep the balance: particularly with the Production Services Association, which is the production side; with Mark Davyd and the Music Venue Trust; and also the concert halls and the National Arenas Association because that gives you representation from the grassroots to the biggest venues, again keeping the balance with everyone.”
“We all owe [Phil] a debt of gratitude for the time and effort that he spends for the good of the business”
Bowdery’s efforts have not gone unrecognised. “The work he has done with the LIVE group over the last two years has been stellar – a steadying hand during a very rough voyage,” notes Emma Banks, co-head of CAA’s London-based operations. “We all owe him a debt of gratitude for the time and effort that he spends for the good of the business, never looking for any glory for himself.”
DF Concerts chief Geoff Ellis says, “Phil is one of the best promoters in the world, and there are very few who command the same respect that he has internationally, so it’s been a pleasure to serve on the CPA board with him.
“His work through the pandemic with the CPA and LIVE has helped immeasurably. When I was meeting with all the political parties in Scotland to talk about the insurance problem, Phil took the time to meet with the cabinet secretary responsible for culture to make sure the Scottish government understood the problems of our industry.”
Bowdery himself tips his hat toward the unprecedented collaboration between industry rivals throughout the pandemic, noting that their willingness to work together for the greater good bodes well as the business recovers. “When something like a pandemic happens it just makes you realise how much the strength of coming together makes a difference,” he says. “Information is power, and sharing information with each other has worked really well.”
“Phil is one of the best promoters in the world, and there are very few who command the same respect that he has”
Many of the people that IQ spoke to for this article note Bowdery’s extraordinary communication skills, pointing out his ability to solve problems with ease, as well as the unique relationship he maintains with artists.
Bowdery believes those attributes were picked up through his desire to be in the live music business. “I left school at 15 with no qualifications – I was not academic,” he says. “But I was streetwise, and my education was being on the road: that taught me life. I had to think on my feet, and when you do that you are communicating.”
Hinting at where he honed his legendary negotiation proficiency, Bowdery recalls a game he’d play with musicians in hotels where the goal was to taste all the whisky behind the bar without paying for a drop. “That was all down to communication and building a relationship with the barman. There was no harm done, but it was all about the ‘gift of the gab’.”
He adds, “I’ve always made sure when I go to a club or theatre or wherever that the person who works on the door genuinely knows that they are as important to me as the guy in the office who is paying the band. Let’s face it, if the door isn’t open, nobody gets in. So I try to ingratiate myself with people and I’m not above communicating with everyone. Everyone is equal.”
Being the long-term manager for Michael Ball, and the agent and tour director for Tom Jones, his approach to dealing with artists is equally simple. “You need to have empathy,” he says. “Without artists, we don’t have jobs. We facilitate them to play to an audience: there is no industry without them.”
“I left school at 15 with no qualifications – I was not academic. But I was streetwise, and my education was being on the road”
Examining some of the technological breakthroughs he has witnessed during his distinguished career, Bowdery underlines the power of the Internet as a game changer. “It’s changed completely the whole marketing aspect of what we do,” he observes. “There was a time when it was only the younger artists that benefitted, but now it’s everyone.
“It really hit home with One Direction. Then agent Paul Fitzgerald and managers Richard [Griffiths] and Harry [Magee] tasked us to do the tour without using any print. And we sold out the entire European stadium tour on social media.” Reluctant to identify particular gigs as career highlights, Bowdery nevertheless namechecks certain acts. “Tom Jones, who I love, of course,” he states, while he admits he would have loved to have worked with The Beatles and Elvis Presley, especially as he has heard so many legendary anecdotes from Tom Jones about his Vegas days with Elvis.
He also lauds Live Nation chief Michael Rapino for his role in changing the live music business. “I was very fortunate to spend a lot of time with him when he worked in the London office,” Bowdery says. “That’s stood me in good character since because if I need to speak to him – and it’s not something I do that much – he’s always ready to talk. But I think so much of the global growth for the live music business is down to Michael Rapino. His vision is incredible, and he knows what works.”
“If everything pans out as planned in 2022, he’s looking at one of his busiest years ever”
With 85-year-old mentor, Barry Clayman, still going strong as a promoter, Bowdery, likewise, isn’t entertaining any ideas of stepping away. Indeed, if everything pans out as planned in 2022, he’s looking at one of his busiest years ever.
“Obviously, the huge success of Coldplay throughout Europe is just enormous, and Harry Styles has two sold-out Wembley stadiums plus Manchester plus Glasgow,” he notes. We’re actually getting into holding stadium dates for 2024,” he reveals. “It’s obvious that the need and desire of everyone to get back to business – and for fans to catch up on two years without live shows – is alive and well.
“I have Genesis, Crowded House, Sting and Westlife going out as the last artists I’ve had to reschedule. Wembley Stadium with Westlife, for example, should have been in 2020 and is now going to happen in ‘22 – we’ve nearly caught up.”
However, as with many in the industry, Bowdery remains concerned over the pandemic’s impact on the live music supply chain. “Talking to major staging contractors, trucking companies, production services, is worrying,” he reports. “It’s all very well me booking a tour, but if the sound isn’t available or if the stage can’t get there, then the artist won’t be able to perform.”
“The biggest thrill for me is actually seeing that show that I had the idea for; and then standing there watching it”
But he’s hopeful that the satisfaction he derives from organising gigs is also felt by others along the length of the supply chain. “There are so many people in our industry that have changed vocation, not out of desire but out of necessity, so we are going to suffer shortages, and that’s why everyone’s working so hard at the moment to try to make sure that they are aligned with their suppliers. But it’s not easy.
“The biggest thrill for me is actually seeing that show that I had the idea for; and then put the deal together, got it on sale, built it; and then standing there watching it. It’s still a rush, and I think lots of people who are involved in working on live music experience the same feelings, so I’m confident that we’ll get some of the people back from the likes of Amazon or whoever they switched their skills toward during the pandemic.”
He adds, “I’ve been very fortunate to work with some of the best acts in the world, from Streisand to Coldplay to Bruce Springsteen to BTS to Tom Jones. But it’s not one particular artist that I associate that feeling of joy – it’s every single show, be it at a club or a stadium, Dave Gahan at Shepherd’s Bush Empire or BTS or Springsteen at Wembley Stadium – the same effort has gone in, in theory, to actually put that together. Getting that satisfaction is what I love.”
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LIVE appoints Jon Collins as new CEO
LIVE, the voice of the UK’s live music and entertainment business, has today (5 April) appointed hospitality industry expert Jon Collins as its new chief executive officer.
Collins has been appointed following a 25-year career running representative organisations in the hospitality industry. His most recent role was as chairman of the Institute of Licensing and the National Licensing Forum.
He has also held roles including lead author for the Greater London Authority’s (GLA) Night Time Commission for London and as a senior adviser to UK Hospitality, where Collins focused specifically on late night and music licensing issues.
Under his new role at LIVE, Collins’ focus will be driving progress on key issues ranging from boosting sustainability to creating an improved regulatory environment for the export and growth of the UK’s £4.5 billion live music industry.
Collins will also build on the umbrella group’s previous successes, which include improving the ability of musicians to tour post-Brexit and successfully lobbying government for funding and support to deal with the impacts of the pandemic.
“Our challenge is to ensure the gov, policymakers, and regulators fully understand the enormous value this industry creates”
LIVE recently secured multi-year funding, guaranteeing its continued support for the sector and allowing the development of a longer-term focus. This comes as the Association of British Orchestras become the 14th member to join LIVE.
Jon Collins, LIVE CEO, says: “Like millions across the UK, I am a passionate supporter of live music, from local gigs to stadium shows.
“I am delighted to take on this role representing an industry that is a powerful economic performer, catalyst for domestic and international tourism, and a source of soft power for the UK across the globe. Our challenge is to ensure government, policymakers, and regulators fully understand the enormous value this industry creates, and that they continue to support our work.”
Collins succeeds Greg Parmley, who led the body since its formation in 2020 and established LIVE as a thriving organisation representing the entire live music ecosystem.
Greg Parmley said: “It has been a true honour to lead LIVE over the past two years. Despite experiencing some of the most challenging issues our sector has faced in decades, the industry has consistently displayed the vibrancy, energy and resilience which is at the heart of live music.
“Jon showed himself to be the outstanding candidate, with the perfect blend of skills and experience”
“I look forward to remaining close to this work as Jon takes LIVE to the next exciting stage of its journey.”
LIVE Board says: “Greg has played such an important role in turning LIVE from an idea into a fully functioning lobbying organisation in just two years, and he will remain close to our work.
“With Greg returning to ILMC and IQ, we turned our attention to finding the right person to succeed him. Throughout this process, Jon showed himself to be the outstanding candidate, with the perfect blend of skills and experience to take forward LIVE’s ambition to protect and promote the work of the entire live music ecosystem, ensuring it remains one of the UK’s most prized cultural assets.”
Mark Pemberton, Association of British Orchestras, says: “The Association of British Orchestras is delighted to be joining LIVE as a demonstration of our support for its crucial work on behalf of everyone involved in live music. It’s been a tough two years, but at least one positive of the pandemic has been forging a stronger coalition of voices, enabling us to advocate more effectively to Government and policymakers the need to support the UK’s successful live music industry across all genres.”
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UK live sector frustrated by mini-budget
The UK’s live music industry has reacted with disappointment to chancellor Rishi Sunak’s spring statement, which was delivered today in the House of Commons.
Calls to extend the VAT break on live event tickets sales past the end of this month again went unheeded, with the temporary 12.5% rate now set to revert to 20% from 1 April. There were also no improvements announced to the government’s £800m insurance scheme for live events
Trade body LIVE (Live music Industry Venues and Entertainment) has appealed for the government to work with the industry to consider a cultural VAT rate of 5% on ticket sales.
“Live music is facing new and unprecedented challenges that threaten to wreck one of the UK’s cultural crown jewels – a 7.5% increase in VAT on tickets, wholesale cost increases and major ticket cancellations due to spiking covid cases,” says a spokesperson for the organisation. “At the same time, the last remaining help from government is being withdrawn.”
However, better news for the sector arrived in the form of the previously announced 50% discount on business rates, which was confirmed by the chancellor.
“While we welcome the business rates discount, we need further measures that can provide a cash injection to all areas of the sector, such as action on VAT,” adds the LIVE spokesperson. “We are calling on the chancellor to look again at these measures, which would help secure the sector’s recovery and allow our £4.5 billion industry to continue boosting the UK economy.”
Association of Independent Festivals (AIF) CEO Paul Reed suggests the mini-budget has done little or nothing to assist the recovery of the festival circuit.
“We are disappointed that the chancellor has not responded to our repeated calls to grant an extension to the 12.5% VAT rate on festival tickets beyond the end of March”
“We are disappointed that the chancellor has not responded to our repeated calls to grant an extension to the 12.5% VAT rate on festival tickets beyond the end of March,” he says. “Festival organisers are experiencing cost increases of between 20-30%, which is way beyond rapidly rising inflation, with extreme pressure along the entire supply chain. We urge the government to look at this again and maintain the reduced rate on VAT.
“We also ask the government to urgently reconsider the removal of tax incentives to use certain biofuels. These should be maintained at the current rate as a transitional measure to encourage use of greener fuels at festivals. To do otherwise is completely contrary to the government’s objectives of incentivising energy efficiency and reducing emissions.”
Despite giving the thumbs-up to the business rates discount for grassroots music venues, Music Venue Trust chief Mark Davyd is keen to highlight other concerns.
“With no action for businesses on energy bills, or NI liability, and the missed opportunity of action on VAT that would support the sector to recover from the Covid crisis, the outcome of the budget is that none of the extraordinary financial pressures being placed on venues have been mitigated or alleviated,” he says. “This budget has failed to respond to inflationary increases from rent, supplies, and services running in excess of 20% across the sector.
“We note that the government has recommitted itself to supporting business investment, especially research and development. We again ask that the secretary of state for culture should enter into meaningful discussions with the live music industry to create R&D tax incentives and direct financial support to achieve that outcome.”
The Night Time Industries Association (NTIA), meanwhile, went further still in its criticism, declaring itself “extremely disappointed”, warning the sector faces a “perfect storm” of challenges over the next 12 months, particularly in light of the cost of living crisis.
“We called on the chancellor before the spring statement to produce a package that included an extension of VAT and business rates reliefs, a cancellation of the proposed NI hike, and action on businesses energy bills and fuel duty, to allow the sector financial headroom to survive in something resembling its pre-pandemic form,” says NTIA chief Michael Kill. “It is very disappointing that today he took none of these steps.”
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Brexit one year on: What’s the state of play?
It has been a little over a year since the post-Brexit trade deal came into effect, presenting the live music industry with a myriad of challenges to overcome.
Since then, 21 of the 27 EU member states have confirmed that British artists will not need a visa or work permit when entering those countries to undertake “short-term” tours, with each country having their own slightly different regulations to navigate.
But while the vast majority of Europe is ‘open for rock and roll business’, the live music industry is still battling to resolve issues around immigration, social security, carnets, cabotage and VAT.
With many creases still to be ironed out, IQ spoke with Craig Stanley, tour producer for Marshall Arts and chair of the LIVE touring group, and Featured Artists Coalition (FAC) CEO David Martin to identify the current state of play for the live music business.
A year on from the post-Brexit trade deal and little has been resolved in terms of cabotage restrictions that limit movements into and around the EU.
Before Brexit, concert hauliers were not restricted in the number of times they could unload and load productions on a European tour. Now, trucks over 3.5 tonnes are limited to just three stops before they have to leave the EU and return to the UK.
An estimated 75-80% of the European concert trucking business is based in the UK, meaning there are not enough trucks in Europe to make up the shortfall.
According to Stanley, the British Department for Transport (DfT) has offered to bring in dual registration as a solution to cabotage restrictions, meaning concert hauliers can be registered in both the UK and Europe.
However, to be registered in the EU, concert haulage companies will need a European yard which, as Stanley points out, is a huge expense. “They’d need a bonafide office that is tax registered and upholds all the regulations of that country,” he explains.
“We’ve made it clear on a ministerial level that [cabotage restrictions] is absolutely an existential threat to our industry”
According to Stanley, the DfT says that the earliest it can introduce dual registration is summer, causing great uncertainty for spring European tours.
“There are big tours starting in May that don’t know what they should be doing – it’s catastrophic,” says Stanley. “We’ve made it clear on a ministerial level that this is absolutely an existential threat to our industry, and they don’t seem to understand that there’s a tremendous urgency to get this fixed.”
While Stanley says the industry would broadly welcome dual registration as a “quick workaround solution”, he’s anxious to stress that the sector needs a comprehensive long-term solution in the form of a cultural exemption to allow free movement of trucks.
Unlike immigration issues, cabotage is an EU matter and cannot be determined by individual sovereign states. This means all 27 EU states would need to agree on any change to cabotage, including a cultural exemption. “It’s going to take some time,” adds Stanley.
As it stands, all but six EU member states have confirmed that British artists will not need visas or work permits when European touring resumes, though with some local conditions that will still need to be considered.
Austria, Belgium, the Czech Republic, Denmark, Estonia, Finland, France, Germany, Hungary, the Republic of Ireland, Italy, Latvia, Lithuania, Luxembourg, the Netherlands, Poland, Slovakia, Slovenia, Sweden, Portugal and Spain have all confirmed that British artists will not need a visa or work permit when entering those countries to undertake “short-term” tours.
Spain, the fifth-largest live music market in the world, is the most recent market to join the list after months of lobbying from live music trade bodies.
Previously, artists and their promoters had been required to file applications for short-term visas entirely in Spanish, provide a host of itinerary details before knowing whether the tour could go ahead and give proof of applicant earnings of up to nearly £1,000 before ever having left the country.
Touring artists and their production teams were also required to wait for over a month for a decision, making long term scheduling impossible.
“Being restricted to spend no more than 90 days in the EU in a period of 180 days is a limiting factor”
The seminal change followed months of dedicated work from live music industry trade body LIVE, the Association for British Orchestras (ABO) and their Spanish counterpart, APM Musicales, as well as Live Nation Spain.
“This was a fantastic example of putting pressure on the government within the UK whilst applying pressure in Spain and, as a result, we brought about change,” says Stanley.
LIVE is continuing to lobby the government to work with individual EU nations to tackle the problem of visas and permits, prioritising Greece, Croatia, Romania, Malta, Cyprus and Bulgaria.
While the ability to undertake “short-term tours” in 21 of the EU member states is a win for the industry, it’s still less than ideal for anyone who is consistently in Europe, warns Stanley.
“Being restricted to spend no more than 90 days in the EU in a period of 180 days is a limiting factor,” he explains. “It could have severe implications for, say, technicians and drivers who go from one tour to the next. Those kinds of professionals could easily spend more than three months in the EU – especially as that law includes holidays.
If they were going to exceed the limit, then “they would then have to get their employer to get them a work permit which is an expensive and involved process”.
Since leaving the EU, the European Health Insurance Card (EHICS, previously E111) will become null and void upon expiry for British citizens, meaning medical insurance is just another cost that touring artists will have to consider.
“Because we pay National Insurance here, most countries don’t deduct any social security payments in their country,” explains Stanley. “But, you have to obtain the right form from the UK tax authorities confirming you’ve paid social security in the UK. However, this hasn’t been road-tested. France, for example, is saying they’re going to increase their deduction of social security from an artist’s fee.
“Further clarification is still required on social security deductions in various territories, primarily France. It’s a question of whether laws are enforced and how they’re interpreted.”
“Further clarification is still required on social security deductions in various territories, primarily France”
The carnet system once again applies within Europe, as it did prior to the UK’s membership of the EU, and in line with other non-EU international tours.
It’s now necessary for tours to obtain ATA Carnets for all equipment travelling outside of the UK on a temporary basis. And while the carnet process is well established, its reintroduction is expected to add friction and cost to European touring, with its impact felt more intensely by grassroots and emerging artists.
“It’s a bureaucratic nightmare for smaller artists,” says Stanley. “It’s not only the lodging fee, it’s also what’s called the bond. You have to put up a bond which is the value of the goods being temporarily exported. If you don’t return them, you can actually risk forfeiting the bond. The bond is a way of making sure that what you temporarily export you are going to bring back.”
Martin from the FAC echoes Stanely’s point, adding that “for smaller artists, the cost of the carnet and the bond are prohibitive when it comes to touring”.
The FAC negotiated an agreement with London Chamber of Commerce, to offer its members a 40% discount on the purchase and bond for ATA Carnets. However, merchandise shipments and any other consumable items cannot be shipped on a carnet.
“This means merchandise will probably have to enter the EU on a permanent basis and, whilst they should be duty-free, a local company in the European destination country will have to take responsibility for the VAT due on the import,” John Corr at Sound Moves explained to IQ last year.
The other option, Stanley says, is to have merchandise made within the EU so the tax is already paid. “It’s straightforward once you’ve done it once or twice but it’s more friction,” he says.
“The most urgent and potentially the most impactful issues are clarity and engagement”
Clarity, guidance and support
“The most urgent and potentially the most impactful issues are clarity and engagement,” says Martin from the FAC. “One of my one of my members had a top 40 album this year and did not tour when they could have because of the complexity.”
“It is completely within the UK government’s gift to write guidance around what on earth this incredibly complex landscape means for professionals and operators in the sector, and they have not done that. It’s an unwillingness, it’s not an inability,” maintains Martin.
Since March 2021, LIVE, ISM, Musicians Union, UK Music, Music Managers Forum and Carry on Touring have been lobbying for a transitional support package to help the industry overcome the challenges presented by Brexit.
According to the coalition, the Live Music Transitional Support Package (TSP) would:
• Offer a quick solution for the government to mitigate the catastrophic disruption to the live music sector caused by Brexit.
• Establish a working partnership between the government and the live music sector until the planned UK Cultural Export Office is operational.
• Prioritise emerging talent and those likely to be hardest hit by the new regulations.
• Provide support for all those on stage and everyone involved behind the scenes.
Alongside government support, Stanley and Martin are also appealing to record labels to get behind the cause.
“There’s this invisible line between live and recorded but the success of an artist is generally predicated on them succeeding on both fronts – and British talent is at risk,” warns Martin.
Stanley echoes that sentiment: “The live side can’t understand why the recording and publishing industries – which are riding high on record-breaking profits – can’t put their hand in their pocket to support the pipeline of talent on which their future revenues depend.”
Latest UK support measures branded ‘inadequate’
New financial support announced for businesses by the UK government in response to the spread of the omicron variant has been criticised as inadequate by live music trade bodies.
The additional measures – including a £30 million top-up to the Culture Recovery Fund (CRF) – were unveiled by chancellor Rishi Sunak today (21 December) as part of a £1 billion support package for hospitality and leisure. Grants of up to £6,000 are available per premise.
The news comes as new restrictions have been announced in Scotland, with more looking likely in Wales. However, music organisations say the extra funding, which adds to the £1.87bn previously made available through the CRF, falls short of requirements.
“We welcome the news that the government has started to deliver much-needed financial support, but with the live music sector teetering on the brink, the package falls short of the urgent cash injection businesses need to keep them afloat,” says a statement from LIVE.
“The amount of money pales in comparison to the mounting losses faced by the sector and the process will add layers of complexity at a time when businesses are already struggling with skeleton staff rotas and huge losses. We have been down this path earlier in the pandemic, with extensive form filling and application processes, by which point it will likely be too late.
“What we really need is an urgent boost that can help today by leaving money in businesses, such as an emergency reduction in VAT and deferral of loan repayments.”
Music Venue Trust CEO Mark Davyd says the amount of funding made available for live music organisations appeared “detached from the reality”.
Business has not just fallen, it has completely collapsed
“Regrettably, today’s announcement appears to be a woefully inadequate response to the reality of the position,” he says. “Through a local authority distribution process, the treasury appears to be offering grassroots music venues up to £6,000, if they meet certain criteria. This sum is intended to mitigate losses for an as yet unknown period in which business has not just fallen, it has completely collapsed.
“The minimum length of that period, regardless of any restrictions or limitations to business yet to be announced, is six weeks – you can’t simply turn the live music industry on and off like a desk lamp, and tours and events are already cancelled. Not just today, or tomorrow, but for the next three months.
“Additionally, the Treasury has announced £30 million will be added to the Cultural Recovery Fund. Our initial response is that this funding seems bizarrely detached from reality. It is certainly completely inadequate to deal with the scale of the problem.”
The organisation reported last week that small venues had been hit by a catastrophic drop in attendance, advance ticket sales and spend per head since the government’s announcement of Plan B measures earlier this month.
Davyd points out that, despite being “singled out” for restrictions since the onset of the Covid crisis, grassroots music venues were not even mentioned in the statement, which instead focused on “theatres, orchestras and museums’, which will be supported “through until March 2022”.
Losses in the grassroots music venue sector alone will run to £22 million by the end of January
“This is despite DCMS having all the evidence they need that losses in the grassroots music venue sector alone will run to £22 million by the end of January, let alone the end of March 2022,” adds Davyd.
“The damage is already done and there is no point pretending otherwise. At least £22 million in losses by the end of next month will hit already beleaguered and exhausted grassroots music venue operators. This level of new debt fundamentally undermines the entire ecosystem that is the bedrock of a £5 billion world leading music industry.”
He continues: “We are constantly being told that the Culture Recovery Fund will save the day. For this to be true, it needs to be adequately funded to match the challenges the government is trying to deal with. Today’s statement by the treasury is not the answer that is needed.
“The secretary of state for culture must meet with the sector, properly understand the scale of the damage being inflicted, and return to the treasury with a financial ask that reflects what is required.”
Michael Kill, chief executive of the Night Time Industries Association, is similarly scathing in his response.
“Businesses are failing, people are losing their livelihoods and the industry is crippled,” he says. “Every pound of help is much needed. But this package is far too little and borders on the insulting.”
This lockdown of stealth is putting their already fragile businesses in real jeopardy
Annabella Coldrick, chief executive of the Music Managers Forum, and David Martin, CEO of the Featured Artists Coalition, stress that artists and industry professionals had been overlooked in the latest package.
“Artists currently find themselves stuck between a rock and a hard place – encouraged by the government to carry on performing, while their audiences are advised to stay at home,” they said in a statement. “With months of uncertainty ahead, this lockdown by stealth is putting their already fragile businesses in real jeopardy. All compounded by the lack of a safety net and insurance schemes that the industry has universally derided as unfit for purpose.
“While the package announced today may help some venues and institutions, it is essential this is also made available to those appearing on the stage or working behind it. Without that concrete support, such as compensation for Covid-related cancellations and viable insurance solutions, we risk artists and tens of thousands of support workers becoming collateral damage to what feels like an unfurling catastrophe.”
Meanwhile, in Scotland, first minister Nicola Sturgeon has announced new restrictions from 26 December, including the cancellation of large-scale events such as Hogmanay celebrations.
Indoor gatherings will be limited to 100 people standing and 200 seated, while outdoor events will be restricted to 500-capacity, with 1m physical distancing at all events.
Sturgeon also announced that support for businesses affected by Covid-19 will be increased by a further £275 million.
Yesterday, Wales also announced that spectators would be banned from all indoor, outdoor, professional and community sports events in the country from Boxing Day. There has not yet been any announcement about the closure of indoor or outdoor music venues, although economy minister Vaughan Gething said new restrictions will need to be introduced.
UK faces “devastating loss” over cancellations, no-shows
The UK live industry is contending with up to 50% audience no shows and widespread cancellations due to Omicron, a snap industry survey has shown.
The survey, conducted by LIVE, found that 70% of organisers were forced to cancel shows due to take place last week. Jessie Ware, Steps, Paul Weller, Coldplay and Lil Nas X are among the artists forced to cancel due to the virus.
Among the major artists that have this week cancelled remaining shows for 2021 are also The Charlatans (five dates), Supergrass (three), Stereophonics (two), Deacon Blue (two), Del Amitri (three), The Libertines (two) and Amy Macdonald (one).
Cancellations also extend into next year, with 50% of venues having already cancelled shows for January and February– some as many as 10 each – and more expected to follow, according to LIVE’s survey.
Cancellations also extend into next year, with 50% of venues having already cancelled shows for January and February
MØ and Brockhampton are among the artists that have already cancelled or postponed UK/EU tours scheduled for 2022 as a result of concerns around Omicron.
The trade association says that the widespread cancellations, alongside a high rate of audience dropouts, are leading to a “devastating” rise in lost income for the live music industry.
These losses are compounded by drastic falls in tickets sales, with expected ticket sales for 2022 live music falling by over a third in the last few weeks, the association adds.
Lucy Noble, National Arenas Association chair and artistic director at Royal Albert Hall, says ticket sales for the London venue have “fallen off a cliff in the past fortnight due to the climate of uncertainty”.
“Ticket sales have fallen off a cliff in the past fortnight due to the climate of uncertainty”
“We have already had a £20m loan from the government but we don’t want to accumulate any more debt,” she tells IQ.
Mark Davyd, CEO of The Music Venue Trust, warns that the position of the industry is taking “a dramatic turn for the worst”.
“Without swift action from the government the entire sector risks collapse within weeks not months,” he tells IQ. “We are currently organising the sector to make applications for all available funding, but more than 50% of grassroots music venues across the UK do not meet the criteria to qualify for the funding currently available.
“The government needs to act on VAT, business rates, retail, hospitality & leisure grants and additional restrictions grants without delay. None of this is new; the government did an excellent job of preventing music venue closures in the last 23 months. We simply need that support reopened to deal with the latest phase of the pandemic.”
“Without swift action from the government the entire sector risks collapse within weeks not months”
Commenting on the snap survey, a spokesperson from LIVE said: “These statistics paint a bleak picture for the sector which is why it’s absolutely vital that the government provides additional support immediately. We need urgent assistance to avoid the live music industry running into the ground, forcing venues to shut up shop and a Christmas of Misery with job losses, and freelancers and artists without work.
“We also face a double-whammy as next year’s sales take a nosedive, meaning organisers do not have the cash needed to cover soaring costs as they struggle to stay afloat while operating at a loss.”
LIVE, on behalf of more than 3,100 businesses in the sector, is now calling for urgent financial support from government, including:
- Scrap the planned increase in VAT, and institute and emergency reduction back to 5% during the worst of the Omicron wave;
- Offer short term financial support for the sector as it battles with the immediate impacts of cancellations;
- Cancel business rates well into 2022, and defer any loan repayments
- Fix the government reinsurance scheme so that it covers the risks organisers face – in particular cancellation due to an artist getting Covid or the reintroduction of social distancing
Vaccine passports to be introduced in England
Vaccine passports and facemasks will be required in order to attend concerts in England as part of tougher restrictions unveiled by the government in response to the Omicron variant.
Speaking at a hastily arranged press conference in Downing Street, prime minister Boris Johnson said the rapid increase in infections meant it was necessary to implement its “Plan B” measures to combat the spread of the virus.
The new rules, he said, would “help to keep these events and venues open at full capacity, while giving everyone who attends them confidence that those around them have done the responsible thing to minimise risk to others”.
From next Wednesday (15 December), the wearing of face masks will be mandated in all venues where crowds gather, and Covid certificates will be needed for:
* Venues where large crowds gather, including nightclubs
* Unseated indoor venues with more than 500 people
* Unseated outdoor venues with more than 4,000 people
The introduction of a negative LFT in the certification scheme follows extended lobbying by the sector to include the measure in any new restrictions. Earlier this week the Scottish government also added LFTs to their own rules.
Johnson added that, “The NHS Covid Pass can still be obtained with two doses but we will keep this under review as the boosters roll out.”
The introduction of Plan B results in an unfair double standard
Reacting to the announcement, a spokesperson for music trade body LIVE said: “The introduction of Plan B results in an unfair double standard that allows people to go on all-day pub crawls in crowded bars without having to prove their Covid-19 status, whilst live music venues get hit with certification.
“Across the country, music venues and events already have tried, tested and workable systems in place to ensure that live events continue to be safe – and these remain effective. However, after such a prolonged closure throughout the pandemic it is important the industry is able to remain open and that the government have listened to the industry and included the use of lateral flow testing in covid certification.”
The botched rollout of Scotland’s vaccine passport app earlier this autumn cost venues £250,000 a week, according to the Music Venue Trust.
The Scottish Music Venues Alliance reported a 39% dip in business per week, amounting to £249,471.23, since vaccine certification became mandatory for large events and nightclubs on 1 October, while a vast majority of people experienced repeated problems in registering and uploading their personal vaccine status to the app.
Vaccine passports have a damaging impact on night-time economy businesses
Mark Davyd, CEO Music Venue Trust, says: “Whilst this is obviously a blow to the progress in the battle against the virus, we are pleased that the government has listened to the grassroots music venue sector and adopted a Covid Pass policy that recognises testing and applies to larger gatherings – those venues operating at above 500 capacity.
“MVT’s #TakeaTest policy has been extremely successful in limiting infection incidents in grassroots music venues, and we welcome the announcement that this has been recognised in the new policy. Regardless of the size of the event you are attending, we continue to urge music lovers to #TakeaTest”.
Michael Kill, CEO of the Night-time Industries Association (NTIA), adds: “Vaccine passports have a damaging impact on night-time economy businesses, as we seen in other parts of the UK where they have been implemented. Trade is down 30% in Scotland and 26% in Wales following their implementation.
“The UK government have twice ruled out vaccine passports before twice changing their mind. The mixed public health messages this week that have been coming out of the government have arrived at the worst possible time – the pre-Christmas period is absolutely crucial for our sector. And now it is announced damaging vaccine passports are to be implemented.”
Check out the latest information on certification schemes, social distancing requirements, mask mandates, capacity restrictions and lockdowns affecting key European markets here.
YouTube Music becomes founder member of LIVE
YouTube Music has become a founding member of UK trade body LIVE as it bids to support the revival of the live music industry.
As part of the link-up, the global music streaming platform will launch the Re:Boot Live initiative in partnership with Grow with Google and LIVE to empower venues to make the most of the tools Google and YouTube have to offer.
Combining digital marketing topics such as analytics, online marketing and SEO with practical tools such as event search, YouTube, Google My Business and GPasses, bespoke workshops will start on 9 November and will run for four weeks on Tuesdays and Thursdays at 11am. Click here to register.
LIVE officially launched in February and comprises 13 industry associations, representing more than 3,000 businesses.
Never has it been so important to show our support to the live industry
A spokesperson for LIVE says: “YouTube music is a pioneering platform for fans and artists across the globe, which is why we’re absolutely delighted that they have joined us on our journey to promote and support this much-loved British industry. Through our shared passion, we’ll get artists back on stage and reconnect them with their fans, as we take the sector from strength to strength in the coming years.”
Alongside workshops for all LIVE members, YouTube Music is also providing funding to build upon the success LIVE has already achieved for the industry.
Dan Chalmers, director of YouTube Music EMEA, adds: “Never has it been so important to show our support to the live industry, a vital part of our music ecosystem. Seeing our favourite acts live is irreplaceable and we are fully committed to helping this side of the industry getting back on its feet after a very difficult time.”
UK live sector gives mixed reaction to 2021 budget
The UK’s live music industry has given a mixed response to chancellor Rishi Sunak’s budget, unveiled today (27 October) in the House of Commons.
The chancellor, who upgraded this year’s economic growth forecast from 4% to 6.5%, pledged an additional £850 million in culture sector funding, the majority of which is ring-fenced (including £2m earmarked for a new Beatles attraction on Liverpool Waterfront), alongside temporary business rates relief in England for eligible retail, hospitality, and leisure properties for 2022-23, worth almost £1.7 billion.
The government is also freezing the business rates multiplier in 2022-23 – a tax cut worth £4.6bn over the next five years, and has increased the headline rate of orchestra tax relief.
However, calls to extend the VAT break on tickets sales beyond next March fell on deaf ears, and no improvements to the government’s £800m insurance scheme for live events were forthcoming. In addition, no cash was allocated to help the sector deal with Brexit’s impact on touring, while the absence of the word ‘music’ from the budget document left a sour taste.
“We’re glad to see that live music will receive some benefit from today’s spending review – including tax relief, business rates, and some extension in terms of funding,” says a spokesperson for trade body LIVE (Live music Industry Venues and Entertainment).
We need government to give us the tools to make progress, which were, unfortunately, missing from today’s news
“However, with the word ‘music’ completely absent from today’s announcement, we remain steadfast in our drive to see government pay attention to the key issues we are facing: the impacts of Brexit, the recovery from Covid and the long-term growth of the sector. We need government to give us the tools to make progress, which were, unfortunately, missing from today’s news.”
It remains to be seen whether music will be eligible for the £52m of government funding set aside for museums and “cultural and sporting bodies” next year to support recovery from Covid-19, with an additional £49m allocated for 2024-25.
“We look forward to hearing more detail about some of the measures announced by the chancellor today, in particular the allocation of further Covid-19 recovery funding for the cultural sector,” says Association of Independent Festivals (AIF) CEO Paul Reed. “On the surface, however, it doesn’t go far enough in supporting our truly world-leading festival industry.
“It is clear that the most effective way for the government to support the industry’s recovery into 2022 and beyond would be to extend the VAT reduction on tickets, look closely at a permanent cultural VAT rate, and completely remove festivals based on agricultural land from the business rates system. Unfortunately, none of this was forthcoming today.”
Referencing UK Music’s latest This Is Music report, which revealed the impact of Covid-19 wiped out 69,000 music industry jobs – one in three of the total workforce – the organisation’s CEO, Jamie Njoku-Goodwin, says further action is needed to support the music sector’s post-pandemic recovery.
“It is crucial that we get government support to help us continue to rebuilding and hiring people who went so long without work due to the pandemic,” he says.
“Covid halved music’s economic contribution to the UK economy from almost £6 billion a year to £3.1 billion in 2020. If the government strikes the right note by delivering the support we need, our music industry will come back stronger and bigger than ever.”
The government has missed an opportunity
Setting out a three-point plan to boost the business, Njoku-Goodwin adds: “We are pleased to see the extension of the orchestras tax relief yet the government has missed an opportunity to not take forward further music tax incentives to help boost jobs and economic growth. Similarly, business rate relief for venues is very welcome yet we remain concerned about next April’s VAT hike for live events.
“Ministers must put turbo-chargers under the efforts to clear away the barriers that are still making it so hard and expensive for musicians and crew to tour easily in the EU. As the domestic music market recovers, the government should also build on recent trade deals by giving more funding and support for music exports.
“As well as music’s huge economic and cultural importance, we also need to see the government fully recognise its huge value to our wellbeing by properly funding music education to help nurture our talent pipeline and provide the stars of the future.”
AIM CEO Paul Pacifico welcomes new measures for venues and hospitality, but stresses the importance of a tax relief scheme for music.
“It’s encouraging to see the government recognise the serious blow Covid dealt to the UK’s music industry in today’s budget, discounting business rates for music and other hospitality venues and for premises improvements and green tech use as well as increasing tax reliefs for orchestras,” he says.
“However, more must be done to support the globally significant independent music sector to ensure a viable future for diverse music, creators and entrepreneurs. One key proposal is a tax relief scheme for music, like those successfully implemented in other creative industries such as film and games. This cost-effective measure could provide our sector with the boost it needs, attracting inward investment and creating a ripple effect across the wider music ecosystem. We urge government to include music in such schemes at the next opportunity.”
There were also contrasting emotions from Night Time Industries Association (NTIA) chief Michael Kill.
“The improved forecasts for growth announced by the chancellor today are good news, and the reopening of the night time economy has been a key part of this better-than-expected bounce back,” says Kill. “We were disappointed that the chancellor chose not to extend the 12.5% rate of VAT on hospitality – this is a missed opportunity, and it will prevent those forecasts from improving further still.”
UK live sector commits to reaching net zero by 2030
The UK’s live sector has committed to reaching net-zero emissions by the year 2030, as part of a new campaign to deliver climate action.
The campaign, spearheaded by LIVE Green – the sustainability arm of live music umbrella trade body LIVE, will set out a roadmap for how live music businesses can accelerate their transition to a low carbon future in line with the Paris Agreement.
The initiative will also provide research, expertise and cross-industry innovation in order to support the sector’s transition to a regenerative future, and will aim to ensure meaningful climate investments are made to achieve the sector’s collective targets.
All 13 association members of LIVE – including AIF, MVT, NAA and CPA – have ratified a voluntary sector-specific commitment to deliver measurable and targeted action on climate change.
“We are now at a tipping point for our climate: this is not a rehearsal”
Signatories of the ‘Beyond Zero Declaration’ agree to:
· Work with LIVE Green to set reduction targets and reduce operational and business travel Greenhouse Gas (GHG) emissions, reporting on progress annually.
· Develop a net-zero roadmap and action plan – taking responsibility for actions in energy, waste, procurement, transport, food and governance.
· Understand and define emissions within value chains, follow best practice to affect change in areas outside of direct control and collaborate with suppliers and clients to reduce them.
· Ensure staff undertake climate education and have an ongoing commitment to knowledge sharing within the live music sector and beyond.
Members of Live Green’s working group include Julie’s Bicycle, AGreenerFestival, Powerful Thinking, Vision: 2025 and The Tour Production Group.
John Langford, AEG Europe COO and chair of LIVE Green, says: “We are now at a tipping point for our climate: this is not a rehearsal.
“Although there has been significant progress across the live music sector, now is the time to accelerate our efforts”
“We want to tap into the power of music to help deliver a step-change in the environmental impact of our sector – from carbon emissions through to plastic waste – helping us demonstrate that moving faster towards decarbonisation is a route to a competitive advantage.”
Tom Schroeder, Partner at Paradigm Talent Agency, added: “There can be no shying away from the environmental impact of our global business, and although there has been significant progress across the live music sector, now is the time to accelerate our efforts.
“By bringing together the active specialists and initiatives under one banner, LIVE Green is pioneering a means to fast-track decarbonisation across the sector through education, awareness and tangible action. We look forward to building on the sector’s progress so far, to make our low carbon future a reality.”
LIVE builds on significant efforts across the sector to boost sustainability, ranging from the end of single-use plastic at festivals to sector-wide efforts to reduce the environmental impact of touring.
The Beyond Zero Declaration was revealed at today’s (16 September) Green Events and Innovations Conference (GEI), followed by a discussion between Langford, Stuart Galbraith (Kilimanjaro Live), Clementine Bunel (Paradigm), artist Sam Lee and Chiara Badiali (Julie’s Bicycle).