Pet Shop Boys light up Artist & Manager Awards
Pet Shop Boys and their manager Angela Becker were honoured alongside a host of industry figures at the 2024 Artist & Manager Awards (AMAs).
The pop icons and Becker jointly picked up the Artist Manager Partnership Award at last night’s ceremony, held at London’s Bloomsbury Big Top, in recognition of their 16-year collaboration.
Describing her experience as a “rarified education”, Becker reflected on the duo’s “intelligence, passion and curiosity”, before offering words of advice to future generations of managers.
“Learning the language of your client’s hopes and fears will open doors to profound impact, ensuring your work echoes in the hearts of audiences long after,” she said. “I am continually elevated and inspired by the pursuit of new ways to communicate Pet Shop Boy’s vision. As Hans Christian Andersen says, ‘Where words fail, music speaks.’”
Organised by the Featured Artists Coalition (FAC) and Music Managers Forum (MMF) the AMAs were hosted by BBC Radio 1Xtra’s Remi Burgz.
Other winners included Chase & Status and their manager, Frame Artists co-founder Sophie Kennard, who received the Team of the Year award from their agent, UTA’s Obi Asika, and Sarah Wilson from TuneCore. The award followed a memorable year for the electronic music act, who headlined Creamfields, Boardmasters, TRNSMT and BBC Radio 1’s Big Weekend, as well as staging their own one-day show at Milton Keynes Bowl.
In addition, the Icon Award was presented to singer Paloma Faith by her long-time manager Innis Ferguson at Lateral Management.
“Sometimes it’s worth remembering that managers need support too”
Riverman Management founders Alex Weston and Dave McLean took the Managers’ Manager honour in tribute to their 35 years working in music. Originally making its name as a promoter, bringing US acts including Nirvana, Green Day, Pearl Jam and Soundgarden to the UK, Riverman switched to artist management and has represented Placebo since 1995.
Reflecting on the company’s successes and on the increased demands being placed on managers, Weston called for greater recognition and support of the role.
She said: “What other job on this planet requires us to have so much wide-ranging knowledge and so many skills and so much responsibility? And the most extraordinary thing of all is that, very often, certainly when we work with new artists, we don’t get paid anything at all to do this for years on end.
“But we do it because we are 100% committed and passionate about each of the artists we take on and truly believe, against all the odds, we can break them and their music! They are the future of our industry and put their faith and trust in us to help them achieve those ambitions. But, a note to our major labels, sometimes it’s worth remembering that managers need support too.”
There were also wins for Barry Can’t Swim (Breakthrough Artist), Hope James at Atlas Artists (Secret Weapon) and Victoria de Juniac of VictoriaBDJ Management (Breakthrough Manager).
Elsewhere, Sam Kelly and Ray Simpson from Cymande were presented with the Originator award, the 2024 Pioneer was awarded posthumously to producer and artist SOPHIE and the Fan Champion Award went to Yungblud, Tommas Arnby, Adam Wood and the wider team at Special Projects Music.
Finally, the awards for Writer/Producer Manager and Team Achievement recognised the work of Ant Hippsley and Croydon-based Finesse Foreva.
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Music charities report uptick in mental health issues
UK-based charity Music Support is reportedly supporting a record number of live and music industry professionals, after seeing a 51% increase in calls to their helpline over the past year.
In a new survey, the organisation detailed challenges facing industry executives — including drug and alcohol problems, mental health issues, and suicidal thoughts — are up across the board, steadily increasing from last year’s report.
In addition to a steep increase in helpline calls, Music Support revealed that nearly half of respondents divulged mental health problems, rising from 40% last year.
More than one-fourth of respondents stated drug and/or alcohol problems, up from 19% in 2023, and 21% said they had suicidal thoughts in the past year, up from 18% last year.
“Whilst the increase in demand for our services is a concern, we are also encouraged that stigmas around mental health and problematic substance use are breaking down and people are more willing to reach out for help,” says CEO Joe Hastings.
Responses were collected from on- and off-stage individuals across Music Support’s Safe Hubs at summer festivals, a service it has offered since 2016.
“It’s vital that those who work in music know there is somewhere they can turn for their mental health”
Elsewhere, Music Minds Matter (MMM) announced its first batch of partners in the creation of Music Minds Matter Allies. The mental health-focused industry charity will work alongside the six organisations to help connect their networks to support, co-develop new resources, and facilitate connection and collaboration through communal events.
The first set of allies include the BIMM Music Institute, the British Phonographic Industry (BPI), the Featured Artist Coalition (FAC), the Music Managers Forum (MMF), the Musicians’ Union (MU), and We Are The Unheard (WATU).
“A life in music is full of uniting highs but sadly the hours, pace and passion can have an impact on wellbeing too,” says Sarah Woods, chief executive of Music Minds Matter and Help Musicians. “It’s vital that those who work in music know there is somewhere they can turn for their mental health and we want to ensure that messages spreads to all who need us.”
“With our Music Minds Matter Allies, we can work together to develop more supporting resources and reach so many more who need support, whether a venue booker, artist manager, festival owner, record producer or label accountant.
“Music Minds Matter is here for everyone working in music at any time and we’re so pleased to work with our Ally organisations to ensure that help and guidance reaches those in need now, or those who may need it in the future.”
“Having artists talk about their mental health struggles allows us to normalize the conversation around mental health”
This year alone, Music Minds Matter has supported over 3,300 people working in music, and research has shown that industry professionals are at a higher risk of experiencing depression and other mental health-related illnesses.
Those working in the music industry may be up to three times as likely to experience depression compared to the general public, a MMM survey revealed.
MMF chief executive Annabella Coldrick emphasised the importance of allyship for the industry: “Against a backdrop of cutbacks elsewhere in the music business, managers are under increasing pressure, shouldering a greater range of responsibilities and expected to deliver on multiple fronts. It can be an incredibly stressful and isolated role.
“Taking a more tailored approach that listens to the concerns of managers and provides them with bespoke mental health resources is, we feel, the best way to alleviate these challenges.”
In response to these challenges, Live Nation recently launched a “music meets meditation” app in collaboration with Mindful Nation. Created by Niamh McCarthy, former assistant manager to Madonna and U2, the app is purposed to help artists and professionals find balance in the rigours of touring.
“Having artists talk about their mental health struggles allows us to normalize the conversation around mental health and opens a space for others to also share their experiences and struggles with mental health, anxiety and depression,” McCarthy says.
“Creating boundaries for self-care can feel hard but ultimately helps not only the performer but the crew and those around them to also prioritize their needs creating for a happy and safer tour experience.”
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Post-Brexit touring deal blow? The industry reacts
Live music industry leaders in the UK have played down a report that the European Union (EU) has ruled out easing post-Brexit restrictions on British touring acts.
Labour pledged to improve EU touring for UK artists by “tearing down unnecessary barriers to trade” as part of its manifesto prior to its landslide general election victory in July.
But according to internal documents seen by the Financial Times, Brussels says a deal to cut post-Brexit red tape compelling touring musicians to obtain cultural performance visas and transport permits is not possible, as it would require rewriting the EU-UK Trade and Cooperation Agreement (TCA).
Moreover, the European Commission – the executive arm of the EU – was “not prepared to consider” the necessary amendments to regulations on customs, road haulage and services.
“The briefings repeatedly warn of the need to ‘manage expectations’ in London, given [Prime Minister Keir] Starmer’s refusal to rejoin the EU single market, accept freedom of movement, or form a customs union with the bloc,” adds the report.
Insiders suggest the documents are a sign of pre-positioning from both sides as they prepare for negotiations, which cannot begin until a new commission is formed later this year. A senior EU official tells the FT it is open to compromise, adding: “We have a track record of finding solutions.”
“We welcome the renewed impetus from both sides to solve this issue, and recognise negotiations are needed to find a solution”
Jon Collins, CEO of UK trade body LIVE (Live music Industry Venues and Entertainment), remains hopeful an agreement can be reached.
“Venues, festivals, and artists across both the UK and EU are suffering under the current touring arrangements,” he says. “It is widely recognised that improvements to these touring rules are needed to bring major economic and cultural benefits to both European member states and the UK.
“We welcome the renewed impetus from both sides to solve this issue, and recognise negotiations are needed to find a solution. We agree with the EU Domestic Advisory Group’s view that the solution to touring problems could be delivered without the need to revise the Trade and Co-operation Agreement.”
The Music Managers Forum (MMF) and Featured Artists Coalition (FAC) established the #LetTheMusicMove umbrella campaign in June 2021 to galvanise the music industry’s work on the topic, calling for reductions in post-Brexit costs and red tape for UK artists and musicians when touring in Europe.
In a joint statement to IQ, MMF CEO Annabella Coldrick and FAC chief David Martin say the issue is of fundamental importance to their members.
“While this FT report raises concerns, I don’t think anyone was under any illusions that these challenges would be alleviated in the short term”
“Outside the UK, Europe has typically provided the next step up for artists and musicians looking to build a live touring career,” they said. “In 2019, it represented the largest overseas market for UK artists, four times bigger than the US. But given the increased costs they’re already shouldering to get live shows on the road, the additional burden of red tape and bureaucracy is potentially crippling for the next generation of British talent. It is vital we find a solution that allows cultural movement to flow more freely.
“While this FT report raises concerns, I don’t think anyone was under any illusions that these challenges would be alleviated in the short term. They are part of wider discussions around freedom of movement and other trading negotiations.
“Obviously, we need the UK government to be committed to finding solutions. They made a manifesto commitment to do this. With MPs returning to parliament this week, we are already in the process of reestablishing contact and pushing for urgent progress.”
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UK general election: What the live biz wants
As the United Kingdom gears up for next month’s general election, a range of music organisations have told IQ how the new government can best help the live business.
The main political parties have now put out their manifestos ahead of the 4 July vote, with varying degrees of support for the arts. Labour, the party currently leading all opinion polls to form the UK’s next government, has reiterated its pledge to cap ticket resale if it wins the election.
“Access to music, drama and sport has become difficult and expensive because of ticket touting,” it states. “Labour will put fans back at the heart of events by introducing new consumer protections on ticket resales.”
While stressing that Britain will remain outside the European Union, the party vows to improve EU touring for UK artists.
“Labour will work to improve the UK’s trade and investment relationship with the EU, by tearing down unnecessary barriers to trade,” it says. “We will seek to negotiate a veterinary agreement to prevent unnecessary border checks and help tackle the cost of food; will help our touring artists; and secure a mutual recognition agreement for professional qualifications to help open up markets for UK service exporters.”
Touring regulations also feature in the Liberal Democrats and Green Party manifestos, with the former saying it would push to “negotiate free and simple short-term travel arrangements for UK artists to perform in the EU, and European artists to perform in the UK”, and the latter promising to “ensure that musicians have access to visa-free travel to the EU through negotiating a reciprocal arrangement at the earliest possible opportunity”.
“This will be a government seeking to kickstart economic growth, and implementing the right policies to support the live music sector”
The Lib Dems also set out their desire to “protect fans from being exploited by ticket touts by implementing the Competition and Markets Authority’s recommendations to crack down on illegal ticket resale”.
The Conservatives, meanwhile, pledge to “extend our Community Ownership Fund to help more communities across the UK take control of vital community assets like pubs, music venues, libraries, green spaces, leisure centres and more”.
Stressing its support for apprenticeships as “a key pipeline of talent into our world-leading creative industries”, the party adds: “We will work with industry to deliver a dedicated flexible coordination service so that everyone who wants to work in the film, TV, gaming and music sectors can work on live productions whilst benefiting from at least 12 months of secure training.”
Jon Collins, CEO of LIVE (Live music Industry Venues and Entertainment), which serves as the collective voice of the UK live music business, says the trade body is looking forward to working with the next government on “a range of issues that require a fresh focus, considered investment and informed action”.
“With Labour likely to form that government, it is very encouraging to see many of our key asks set out in their manifesto and their action plan for the arts, culture and creative industries,” he says. “This will be a government seeking to kickstart economic growth, and implementing the right policies to support the live music sector with a value of £5.2 billion will deliver that growth – both domestically and internationally.
“Labour is committed to facilitating easier touring arrangements with the EU which will critically drive up activity; the current provisions have seen a 74% drop in activity and left orchestras either unable to tour or facing prohibitive costs. We welcome Labour’s support for our grassroots sector and look forward to working with ministers to ensure grassroots music venues are able to thrive, update them on the progress of the LIVE Trust, and ease the trading environment through business rates reform.”
“The rest of the world recognises this country as a beacon of music innovation, and it’s vital that an incoming government maximises that potential”
Collins adds: “Whilst not a manifesto commitment, we will be looking to the next government to act on the recommendations made by the Culture, Media and Sport Committee in their recent report (May 2024) on grassroots music venues to reduce VAT on tickets and undertake a comprehensive economic analysis of the impact of a reduced rate applied across the sector.
“We are pleased that Labour has committed to take forward our proposals published in our Live Music Manifesto on secondary ticketing and reforming the apprenticeship levy. LIVE will work with the next government on plans to deliver Martyn’s Law in a way that protects fans without putting unnecessary burdens on venues and festivals.”
Last week, the Music Venue Trust (MVT) published a report entitled, A Manifesto for Grassroots Music, which outlined the steps the charity says are required in order to stem the closures of grassroots music venues and bring stability to the sector.
“In 2023, of the 366 small music venues Ed Sheeran played while learning his trade, at least 150 are now closed,” said MVT CEO Mark Davyd. “Another 72 grassroots music venues significantly reduced or ended their live music offer. 38% of GMVs in the UK made a loss in the last 12 months. The sector operated on a 0.5% profit margin overall while running live music events at a £115 million loss.
“All of this can be changed if the next government delivers the five simple steps we have set out.”
Music Managers Forum (MMF) CEO Annabella Coldrick highlighted touring, the grassroots scene and streaming as key areas of concern.
“When the general election was called, the industry was in deep discussion with policy makers about reforms to music streaming and to grassroots live music,” she says. “In the next parliament, those discussions must be transformed into tangible actions – and fast! Our artists and music makers deserve nothing less.
“Underpinned by those reforms, it’s really important that music, culture and the creative industries are at the heart of the UK’s business and growth strategy. The rest of the world recognises this country as a beacon of music innovation, and it’s vital that an incoming government maximises that potential – for instance, by negotiating new improved touring arrangements for UK artists wanting to perform in Europe, and by addressing our concerns about exorbitant visa fees for the US. Both have been a real focus for the MMF, and for the FAC, with our joint #LetTheMusicMove campaign.”
“To reset the market, we want the UK to follow the example of Ireland and outlaw ticket resale for profit”
David Martin, CEO of the Featured Artists Coalition (FAC), says: “The FAC’s priority is to ensure that the momentum to drive forward artist-friendly reforms of streaming and the sustainability of the live music ecosystem continue into the next Parliament. The next government must take forward the work that was started by the Culture Media & Sport Select Committee in these areas. We can’t let progress slip.
“There are plenty of challenges facing our industry, but with a UK music strategy for growth the next government can maximise its untapped potential. Through practical changes to the way we do business – such as implementing fair royalty rates or a live ticket levy that directly supports artists – British music will thrive. The new government should legislate on these issues if industry consensus cannot be found.”
Unsurprisingly, the focus for Adam Webb, campaign manager of of anti-touting pressure group FanFair Alliance, is on cleaning up secondary ticketing.
“To reset the market, we want the UK to follow the example of Ireland and outlaw ticket resale for profit,” he tells IQ. “Thankfully, because of FanFair’s campaigning, this is firmly on the radar of politicians. The Labour Party has already committed to introducing a 10% cap on resale prices, and action against ticket touting is one of the key music-related pledges in their manifesto. The Liberal Democrats also have a manifesto commitment to clamp down on speculative ticketing and other anti-consumer practices.
“Alongside that, I’d like to see the Competition & Markets Authority provided with new enforcement powers. The UK’s ticket resale market is not highly regulated. We need that to change, and for capped consumer-friendly ticket resale to be made more visible and viable.”
Meanwhile, the Association of Independent Festivals (AIF) plans to resume its Five Percent For Festivals campaign – calling for a reduced VAT from 20% to 5% on ticket sales for the next three years – post-election.
“We are delighted to see so many references to music and meaningful commitments that will change our members’ lives for the better”
“I think there will be intervention. My concern is that by the time something does happen, how many [festivals] will have gone?” AIF CEO John Rostron told IQ earlier this month. “What’s good for us is there is an election about to happen, so we’ll have a new group of politicians with a five-year mandate, and that is stronger to work with than where we were, which was with a group of MPs that didn’t know how long their futures would be.”
Elsewhere, the Musicians’ Union (MU) has welcomed the Labour Party Manifesto, saying it tackles many of the issues the organisation has raised with the party on behalf of members.
“The MU is Labour-affiliated and, along with fellow unions, we have been involved in shaping policy for a Labour government for many years now,” says MU general secretary Naomi Pohl. “Having not had significant access to Conservative ministers, with a few notable exceptions, we have a chance of a government that prioritises the arts and wants to engage with us on issues facing musicians.
“This is the first time that the MU has been so directly involved in the Labour Party manifesto process and had a chance to influence the final document. We are delighted to see so many references to music and meaningful commitments that will change our members’ lives for the better.
“While we know our membership is a broad church politically, we would be missing a once in a generation opportunity if we didn’t encourage musicians to vote Labour. This is an opportunity to shift the dial for the creative workforce of today and tomorrow.”
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How is the industry grappling with artist boycotts?
The last couple of months have seen artist boycotts ripple through the showcase festival season, with hundreds of acts pulling out of SXSW in Austin, and others from new music showcase festival The Great Escape (TGE) due to their sponsors’ ties to Israel.
More than 100 speakers and acts pulled out of March’s SXSW in protest of the Texas event’s sponsorship by the US Army and its support for Israel during the Gaza war. A similar number of acts were reported to have dropped out of the UK’s TGE due to its sponsorship by Barclays and its ties to Israel.
Now, attention is turning to other events, with campaign group Bands Boycott Barclays listing Isle of Wight and Latitude festivals – both of which are presented by Barclaycard – and Download as their “next festival targets”.
Last week, Pillow Queens became the first act to boycott this year’s Latitude. Posting on social media, the Irish rock band said: “As a band, we believe that artistic spaces should be able to exist without being funded by morally corrupt investors.”
A handful of acts that boycotted TGE – Picture Parlour, King Alessi, Nieve Ella, Mui Zyu – are also billed to perform at Latitude Festival. IQ reached out to the acts but none have commented.
“The impacts are going to be different for each and every artist, depending on their circumstances”
Like other acts before them, Pillow Queens referenced a May 2024 report by Palestine Solidarity Campaign (PSC) which details Barclay’s financial ties to companies producing weapons and military technology used in Israel’s attacks on Palestinians.
In response to the boycotts, Barclays have repeatedly pointed to their online Q&A which states: “We have been asked why we invest in nine defence companies supplying Israel, but this mistakes what we do. We trade in shares of listed companies in response to client instruction or demand and that may result in us holding shares. We are not making investments for Barclays and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”
Annabella Coldrick, CEO of Music Managers Forum (MMF) says it is not straightforward for an artist to pull out of a festival. “The impacts are going to be different for each and every artist, depending on their circumstances, she says. “With SXSW, there may have been funding agreements and contractual obligations to consider. There’s also the cost of getting to Austin and visas, which for an upcoming act can be considerable.”
Northern Irish artist Conchúr White, who boycotted SXSW, revealed that he “accepted a significant amount of money from PRS [for Music]” to perform at the festival.
“The financial implications for me, however, pale in comparison to the tragedies occurring in Gaza,” he continued. “I don’t want to align myself with weapon manufacturers.”
White added he will “try to be more mindful moving forward”.
“We would caution against people pressuring and making assumptions about the views of others”
Belfast band Kneecap also canceled their sets at SXSW “in solidarity with the people of Palestine” even though pulling out “would have a significant financial impact on the band”. But they said it wasn’t comparable to the “unimaginable suffering” in Gaza.
While there are a number of possible ramifications for bands boycotting festivals, artists choosing to stay on festival bills are also facing difficulties.
“There’s a lot of pressure coming from social media,” says Coldrick. “Plus you’ve got fans who may have paid to see you. Not every artist is political or feels confident enough or informed enough to express an opinion about what might be a complex global issue. Alternatively, artists may decide to play and use their platform to express their views in other ways.”
David Martin, CEO at Featured Artists Coalition (FAC), seconds that point, adding: “Music is an artistic expression, a vehicle through which to challenge political, social and financial structures. We support each artist’s freedom to take decisions about using their platform. It is up to individual artists to decide how they choose to demonstrate their views. The circumstances of such decisions will vary from artist to artist and show to show, and only those involved will be in a position to judge the best course of action. We would caution against people pressuring and making assumptions about the views of others.”
Pressure has also been directed towards the festivals to cut ties with sponsors linked to Israel. Massive Attack, Idles and Eno were among dozens of artists who were not booked to play at TGE but signed an open letter launched in April calling for it to drop Barclays as a partner.
The letter said the artists were “drawing inspiration” from Artists Against Apartheid. “A Barclays boycott was a key part of ending apartheid in South Africa, after thousands of people closed their accounts with Barclays to pressure them to withdraw investments from South Africa,” it reads.
“We are now looking closely at a festival’s sponsors in advance of confirming any appearance”
It’s yet to be seen how upcoming Barclays-sponsored festivals, which include the UK’s Camp Bestival and Summertime Ball, will respond to – or be impacted by – artists’ political interest in the Gaza-Israel war. Isle of Wight Festival declined to comment for this IQ story and Latitude Festival did not respond.
Denmark’s ENGAGE Festival is a recent example of an event that has dropped its sponsor amid controversy. The Copenhagen festival, organised by the Veterans Foundation, has asked its defence industry partners to withdraw as a sponsor following criticism and confusion from some.
“Some cannot distinguish between Danish veterans and current international conflicts,” a spokesperson for the festival said. “The Veterans Foundation does not support war and will never take a stance on international conflicts that does not align with the Danish government. We do not collaborate with organisations or companies that oppose this.”
Pressure on festivals to remove controversial sponsors is not limited to music; Hay literary festival last week dropped its principal sponsor – investment firm Baillie Gifford – after boycotts from speakers and performers over the firm’s links to Israel and fossil fuel companies.
Whether festivals change tact with sponsorships or not, one agent suggested to IQ that the recent furore may prompt more caution with booking.
“We support our artists in whatever choice they make,” they told IQ. “But we are now looking closely at a festival’s sponsors in advance of confirming any appearance.”
MMF’s Coldrick says such vigilance is business as usual in the record industry: “Clearly, if any artist is passionate about a particular cause or issue and that might have implications on the shows they play, then they need to make this known to their manager and agent. Those kinds of conversations are quite standard when it comes to sync or brand deals. Going forward, maybe they need to be standard in live music too.”
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CMS calls for ticket levy for grassroots venues
The Culture, Media and Sport (CMS) Committee has backed calls for a new arena and stadium ticket levy, plus tax relief, to safeguard UK grassroots music venues (GMVs).
The recommendations feature in a new report from the cross-party committee, which launched the inquiry at the Music Venue Trust’s (MVT) Venues Day in October 2023 and heard about the “cost of touring crisis” facing the sector, against a backdrop of small venues closing at a rate of two per week.
It says that a voluntary levy on arena and stadium concert tickets – as lobbied for by the MVT – would be the most feasible way to have an immediate impact on the business, creating a support fund for venues, artists and promoters, administered by a trust led by a sector umbrella body, and is appealing for the industry to ensure the levy cost is not passed on to music fans. In addition, it is calling for a temporary VAT cut based on venue capacity.
The conclusions have been warmly welcomed by bodies including the MVT, along with trade bodies LIVE (Live music Industry Venues & Entertainment), UK Music, the Music Managers Forum (MMF) and Featured Artists Coalition (FAC).
“These recommendations provide a clear pathway forward to a positive future for the UK’s grassroots music venues, a set of actions that are deliverable, affordable, and will genuinely have a positive impact on live music in communities right across the country,” says MVT CEO Mark Davyd. “We look forward to working with the music industry and with the government to deliver on these recommendations as swiftly as possible.”
Davyd owns Tunbridge Wells Forum in Kent, which recently pledged to become the first venue in the UK to introduce a grassroots ticket levy. Throughout this month, £1 from every ticket sold will be donated to the Music Venue Trust’s (MVT) Pipeline Fund at no additional expense to customers.
The MVT has described 2023 as the most challenging year for the sector since the trust was founded in 2014, as the number of GMVs falling from 960 to 835.
“It’s clear that the committee has recognised the many challenges faced by venues, promoters, events and artists at the grassroots level, and the steps required to address them”
“We would like to thank all the thousands of music fans that have supported our work across the last 10 years,” adds Davyd. “It has taken much longer than any of us would have liked to get the positive change we all wanted to see, but we could not have achieved this fantastic outcome without your continued support for your local live music venue.”
If there is no agreement by September, or if it fails to collect enough income to support the sector, the report says the government should step in an introduce a statutory levy.
“It’s clear that the committee has recognised the many challenges faced by venues, promoters, events and artists at the grassroots level, and the steps required to address them,” says LIVE CEO Jon Collins. “LIVE set out to the committee the actions we believe that the government needs to take to help unleash the economic potential of the sector, such as a reduction in the damaging and uncompetitive rate of VAT on tickets, as well as the actions that sit with us as an industry, notably the creation of a charitable arm, the LIVE Trust.
“We are pleased that the committee’s report addresses both of these matters positively and has entrusted our sector to implement the industry-led solution of a voluntary levy on arena and stadium tickets, gathering and distributing funding that will benefit the whole grassroots music ecosystem. We look forward to working with government on the review of VAT and regularly updating on our progress on the LIVE Trust.”
“Grassroots music venues are a crucial part of the music industry’s ecosystem and have been faced with a series of unprecedented threats for a number of years,” adds UK Music interim chief executive Tom Kiehl. “We welcome the House of Commons CMS Committee taking the opportunity to consider the challenges these venues and the artists that tour in them face.”
Artists and managers previously spoke out in favour of the MVT’s calls for a compulsory £1 levy on tickets sold for UK live music events above 5,000-cap during evidence sessions held in March.
“As the organisations representing artists and managers, we wholeheartedly endorse all the committee’s recommendations,” says a joint statement by FAC CEO David Martin and MMF chief executive Annabella Coldrick. “Most important is their recognition of the ‘cost of touring crisis’, and that the benefits of a ticket levy must flow down to artists, managers, and independent promoters – as well as to grassroots music venues. The entire ecosystem needs support. While we still believe this mechanism should be mandatory, the clock is now ticking to get a process in place before September 2024.”
“The ongoing wave of closures is not just a disaster for music, performers and supporters in local communities up and down the country, but also puts at risk the entire live music ecosystem”
Among the report’s other recommendations are for the government and Arts Council to make it easier for the live music sector to apply for public funding and for stakeholders across the industry to continue to support the FAC’s campaign to end punitive fees on artists’ merchandise.
“We are also delighted to see the committee endorse the 100% Venues campaign, and hope this will trigger action from the UK’s largest live music venues to overhaul outdated practices on merchandise commissions,” continue Martin and Coldrick. “The sale of T-shirts, vinyl and other physical products represent a crucial income stream for artists. It is only fair that they should retain the bulk of that revenue.”
In closing, the report also calls for a comprehensive fan-led review to be set be set up this summer to examine the long-term challenges to the wider live music ecosystem.
“We are grateful to the many dedicated local venues who gave up their time to take part in our inquiry,” says Dame Caroline Dinenage MP, chair of the CMS Committee. “They delivered the message loud and clear that grassroots music venues are in crisis. The ongoing wave of closures is not just a disaster for music, performers and supporters in local communities up and down the country, but also puts at risk the entire live music ecosystem.
“If the grassroots, where musicians, technicians, tour managers and promoters hone their craft, are allowed to wither and die, the UK’s position as a music powerhouse faces a bleak future. To stem the overwhelming ongoing tide of closures, we urgently need a levy on arena and stadium concert tickets to fund financial support for the sector, alongside a VAT cut to help get more shows into venues.
“While the current focus is on the many grassroots music venues falling silent, those working in the live music sector across the board are also under extraordinary strain. It is time that the government brought together everyone with a stake in the industry’s success, including music fans, to address the long-term challenges and ensure live music can thrive into the future.”
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#LetTheMusicMove: Groups oppose US visa changes
The Music Managers Forum (MMF) and Featured Artists Coalition (FAC) have stepped up their #LetTheMusicMove campaign in order to oppose changes to US visa applications.
The UK groups say the newly-proposed increases to filing fees attached to specific visa applications – including O and P artists visas – would result in potentially crippling costs for UK artists looking to tour North America.
#LetTheMusicMove was originally established in June 2021 to campaign for reductions in post-Brexit costs and red tape for UK artists and musicians when touring in Europe, but has extended its focus following the recent announcement by the US Department of Homeland Security (DHS).
Under the proposals, the cost of artists visas increase by more than 250%, which would make performing in the US unaffordable for many emerging and mid-level artists.
“These proposed increases to visa costs would be catastrophic for British artists, and make it unaffordable for many to tour the US,” says MMF chief Annabella Coldrick. “By reactivating and expanding our #LetTheMusicMove campaign we hope to convince the Department of Homeland Security to rethink their culturally destructive proposals.”
“By working strategically, there is still a chance of stopping these damaging changes”
The DHS and the US Citizenship and Immigration Services have opened a comment period until 6 March, allowing US citizens to send public feedback which will then be reviewed and further adjustments considered.
“#LetTheMusicMove provided artists with a unified campaign in which they could voice their concerns about the challenges of touring after Brexit,” says FAC CEO David Martin. “However, these new proposals around US touring visas are equally concerning and, should they be agreed, will only exacerbate the seismic challenges facing the UK’s artists today.
“For that reason, we are asking British artists to commit to three simple actions: to sign up to the campaign, to send us their views, and to submit feedback to the official consultation process. By working strategically, there is still a chance of stopping these damaging changes.”
More than 1,000 artists originally backed the #LetTheMusicMove campaign, including Little Mix, Orbital, Olly Murs, Sampha, Sleaford Mods, Alison Moyet, Nubian Twist, Bicep, AlunaGeorge, Niall Horan, Wolf Alice, Annie Lennox, Biffy Clyro, Idles, Poppy Ajudha, Radiohead, Anna Calvi, Skunk Anansie and Laura Marling.
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The Associates: Liveurope, MMF, MVT
Covid-19 has impacted every business sector around the world, but with live entertainment likely to be one of the last industries to return, given social distancing regulations, the associations that represent its millions of employees have never been more important.
As restrictions in many countries enter yet another month, for issue 91 IQ found out more about some of our association partners and discovered just what they are doing to help their members navigate and survive.
Following the last instalment with Impala, Intix and Live DMA, this time we check in with Liveurope, Music Managers Forum and Music Venue Trust.
Liveurope
Liveurope is a one-of-a-kind initiative that supports concert venues in their efforts to promote emerging European music.
Created in 2014, the platform counts 16 iconic European music venues, including Ancienne Belgique (Belgium), Sala Apolo (Spain), A38 (Hungary) and Village Underground (UK), as its members.
The mission of Liveurope is to support music venues that are committed to European diversity in order to create lasting effects in terms of cross-border circulation of European repertoire.
Thanks to funding provided by Creative Europe, Liveurope has already supported over 200 acts from 40 countries. This represents a 63% increase in the number of emerging European artists booked on average per venue since the launch of the platform.
The Liveurope platform was designed to provide financial support in order to encourage music venues to take risks by programming new acts from uncharted territories.
Though these concerts are currently suspended, the financial support the organisation provides to its member venues also acts as a safety net during the crisis.
While artists can no longer cross borders physically, Liveurope has joined forces with its member venues through a digital tour project, which is allowing participating venues to continue presenting new European acts to their audiences via social media.
As it depends on European funding programmes for culture, Liveurope has also been engaging in joint efforts with organisations from across music and cultural sectors to call for ambitious budgetary measures to help get through the crisis.
While artists can no longer cross borders, Liveurope has joined forces with member venues through a digital tour project
Music Managers Forum
The Music Managers Forum (MMF) is the world’s largest professional community of music managers.
Representing more than 850 members, it advocates for their interests; provides training and education; and operates a successful associate programme that fosters ties with a wide range of artist-focused music businesses and services.
Membership fees range from £60 (€67) per annum (plus VAT) for those under 30, to £120 (€135) per annum (plus VAT).
MMF’s campaigning initiatives include the long-running series of Dissecting The Digital Dollar publications that promote greater transparency around online streaming, and the FanFair Alliance, which has successfully reformed secondary ticketing in the UK.
The Forum’s groundbreaking Accelerator Programme for Music Managers, launched in partnership with YouTube Music, Arts Council England and the Scottish Music Industry Association, is helping a new generation of music entrepreneurs.
Since mid-March, the MMF has worked hard to assist members, providing dedicated information on financial support, and utilising evidence from an online questionnaire to lobby government for support packages – as well as working extensively through UK Music and the Creative Industries Federation.
MMF has strived to bring members together throughout the Covid-19 crisis – hosting daily Zoom calls to share information and experiences on everything from live-streaming to event rescheduling, and running weekly, themed management meet-ups (with up to 150 participants) with guests including Amazon Music, YouTube, Facebook and Songtrust.
Since mid-March MMF has been providing dedicated information on financial support, and utilising evidence to lobby government
Music Venue Trust
Music Venue Trust (MVT) is a registered charity created to protect, secure and improve grassroots music venues (GMVs) across the UK.
Founded in 2014, the trust also established the Music Venues Alliance (MVA) – a membership body on whose behalf MVT acts to fundraise, lobby, share good practice and ensure that these vital venues are represented as cultural, social and economic assets.
Membership of the MVA is free and has seen a significant boost in numbers during the pandemic. Six months ago, there were 580 members, but at press time the number had increased to more than 780.
It is inevitable that MVT will need to introduce a paid membership model to make the support it offers sustainable, but this is very hard to do in such a challenging time for the venues it protects.
MVT has been offering sector support for GMVs to try and sustain them through the impacts of the pandemic. This takes five forms:
1. Surveys
MVT gathered data between 9 March and 26 March (six different national data sets) from MVA members about the financial impacts of venue closure, to best inform governments about the support needed to ensure they are sustained through this crisis and able to reopen.
This data enables them to speak authoritatively and factually about the financial needs of GMVs.
2. Information sharing
● MVT continues to bring together and disseminate to MVA members the most current information about what they must do and what they can do to try and sustain their venue.
● MVT feeds into the international music industry picture and keeps track of trends.
3. Representation
● MVT makes sure that the needs of GMVs are raised as part of all music industry and cultural sector approaches for support from the governments of the UK.
● MVT sits on a range of working groups tackling venue reopening, including the UK Government Taskforce for reopening music.
● As the largest GMV membership body in Europe (Live DMA), MVT feeds into European information collecting and sharing.
4. Fundraising
● To support the entire sector, MVT launched the Grassroots Music Venue Crisis Fund, created to raise money from corporate giving and high-net-worth individuals.
● On 27 April, we launched the #saveourvenues campaign: both a central fundraising campaign and individual crowd-funding for member venues. In the first three weeks, £1.5million (€1.7m) was raised through donations. The campaign is ongoing.
5. Individual support for every MVA member
● Since the start of the crisis, MVT has grown its team, appointing regional and national co-ordinators to work with the core team and reach out to every venue across the UK. MVA co-ordinators work through all of the potential avenues of support for venues, offering advice on how best to secure every venue’s finances (and listening to their concerns).
● If these measures fail to secure the venue then they apply to the GMV Crisis Service for specialist expert advice and support.
View the full Associates list in the digital edition of IQ 91. To keep on top of the latest live music industry news, features and insights, subscribe to IQ now.
This article forms part of IQ’s Covid-19 resource centre – a knowledge hub of essential guidance and updating resources for uncertain times.
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MMF’s Accelerator programme to return in 2020
The Music Managers Forum (MMF) and YouTube Music have announced that the Accelerator Programme for Music Managers will return in 2020, following a successful inaugural year.
The initiative, lauded as the first-ever independent funding and professional development programme designed solely for music managers, aims to increase the number of sustainable full-time management businesses, offering a combination of financial and educational support.
The programme currently benefits 24 managers across England and Scotland, who have received year-long grants of up to £15,000 and more than 80 hours of manager-specific education courses, through backing from Arts Council England and the Scottish Music Industry Association.
Applications for those wishing to participate in the 2020 programme open on Tuesday 15 October.
“MMF are absolutely thrilled that YouTube Music recognise the importance of Accelerator and that the programme will return next year,” says MMF’s strategy and operations director Fiona McGugan.
“Accelerator has already offered a career-changing experience for 24 upcoming music managers”
“It has already offered a career-changing experience for 24 upcoming music managers, and we look forward to sharing some of the impact data and successes in time for the opening of 2020 applications.”
Roz Mansfield, YouTube Music artist partnerships managers, comments: “As well as supporting the next wave of British talent, we also want to support the people who work tirelessly behind the scenes to make the industry function, grow and succeed.
“We at YouTube Music are so proud to be a sponsor of MMF and their Accelerator Programme and look forward to seeing what these talented managers go on to do next.”
Accelerator business partners include Music Ally, CMU Insights, Harbottle & Lewis, Sheridans, Simkins, Simons Muirhead & Burton, Music Insurance Brokers and SRLV. MMF aims to confirm and expand partnerships for 2020 before the programme begins.
Full details on how to apply to the programme will become available here.
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