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A £400,000 Culture Recovery Fund (CRF) grant awarded to a business part-owned by Greater Manchester’s night time economy adviser Sacha Lord has been withdrawn following an Arts Council England (ACE) probe.
The £1.57 billion CRF was launched by the British government in 2020 to help the UK’s arts and culture sector weather the impact of Covid.
Lord, who co-founded Manchester’s Parklife and The Warehouse Project, was a director of Primary Event Solutions (PES), which applied for more than £480,000 via the scheme. PES went into liquidation in September 2023, owing £67,637.
ACE previously received a complaint about the grant in December 2022, but concluded there had been no misuse of public funds. However, the body carried out additional checks “in light of new information” after online local news publication The Mill alleged Lord had made “a series of highly misleading claims about the nature” of PES’ activities in his successful funding application.
ACE says it is now “seeking to recover” the £401,928 awarded to the company, with Lord “stepping down” from his Manchester role last night.
“We take our role as custodians of public money very seriously and have processes in place to assess applications,” an ACE spokesperson tells IQ. “If concerns are raised to us about a grant application or award, we investigate and take the appropriate action.
“Following a thorough review of the application that Primary Event Solutions submitted to the Culture Recovery Fund in 2021, our decision is to withdraw the grant that was awarded and we are seeking to recover this money.”
“I remain concerned over inconsistencies and a lack of proportionality in the handling of this matter”
The Mill‘s report centred on PES, which changed its name from Primary Security to Primary Events in October 2020 – three months before the application was submitted – claiming to provide a wide range of event services rather than just security. Lord threatened to sue the publication over its “false” allegations but later withdrew his claim.
Lord, who left his roles at Parklife and The Warehouse Project last summer to “focus on other endeavours”, has released a statement in the wake of ACE’s decision.
“While we acknowledge the change in grant status, we appreciate that Arts Council England have found that there is no finding against the company that it deliberately misled the Arts Council in this application,” he says. “The company and its former directors have continued to work closely with Arts Council England to evidence that grant funds were used appropriately to support staff wages and company stability during the pandemic.”
Lord points to his work on livestreaming platform United We Stream, which raised £583,000 to support cultural organisations, businesses and individuals affected by lockdown.
“Supporting such businesses has always been my only mission in my various, unpaid roles,” he continues. “However, given the company’s current status in liquidation, and recognising that there are a small number of unintended oversights which have impacted the application’s clarity under the criteria, we accept that the grant status has been updated.
“That said, I remain concerned over inconsistencies and a lack of proportionality in the handling of this matter. Not only has this application been reviewed twice previously by the organisation’s Counter Fraud team, which, after examining the financial evidence and invoicing, concluded on both occasions that it was compliant with grant guidance, but the length of time taken to bring the matter to a close raises cause for concern and these delays have taken a significant, personal toll on myself and my family.
“Furthermore, the invasion of privacy, particularly the targeted harassment of my wife during the final months of her pregnancy, has been deeply troubling and has only reinforced the importance of protecting and spending more time with my loved ones during this period of my life as a new father.”
“Sacha has accepted there were inaccuracies in a grant application, and I believe him when he says there was no intention to mislead”
Lord adds that he is stepping back from his night time economy role – a position he was appointed to by Greater Manchester mayor Andy Burnham in 2018. He has also served as chair of the UK’s Night Time Industries Association (NTIA) since 2022.
“I am incredibly proud of what we have achieved as a city-region,” says Lord. “However, the emotional toll and experience over recent months has given me the opportunity to reflect and gradually step back from my role in Greater Manchester. With heartfelt thanks to the Mayor and his team, I have decided to continue in this direction and embrace a new chapter ahead – championing the sector on a national level with fresh focus and energy.”
Confirming Lord’s resignation, Burnham paid tribute to the 53-year-old’s work over the past seven years.
“Sacha has been a brilliant and vocal champion for Greater Manchester’s night-time economy and cultural sectors during one of the industry’s most difficult periods in living memory,” he says. “He has put a huge amount of time and energy into his work as mayoral advisor, supporting our councils and many local businesses. He has done all of this completely free and out of his own pocket, never taking or receiving any payment for this work.
“Sacha has accepted there were inaccuracies in a grant application, and I believe him when he says there was no intention to mislead and that he made no personal gain from the grant. Given that the Arts Council’s Counter Fraud team previously found no misuse of public money, it is not clear to me why the Arts Council has now reached this decision.
“Sacha has gradually stepped back from his role in recent months. Last night, he stepped down as mayoral advisor. With regret, I accepted his resignation and respect his decision. We value his commitment to Greater Manchester and the massive contribution he has made.”
IQ has approached the NTIA for comment.
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Sacha Lord has left his leading roles at Parklife and The Warehouse Project, two of the biggest events in Manchester, UK.
He today (18 July) confirmed the transfer of his shares to LN Gaiety – which has owned a controlling stake in The Warehouse Project and Parklife since 2016 – to “focus on other endeavours”.
This includes his roles as Greater Manchester’s night-time economy adviser, appointed to him by Mayor Andy Burnham in 2018, and chair of the Night Time Industries Association.
Lord says that his departure from Parklife and The Warehouse Project was agreed in 2021 and that “it was not an easy decision for me to make”.
“I will miss the team, the events, the customers, I’ll even miss the stress and the late nights, but I’ve known for a long time that Parklife 2024 was going to be the last for me,” he said.
“This decision will free up my time to focus on my roles in the nighttime economy and hospitality sectors”
“There could not have been a more perfect moment for me to step away than now – exactly 30 years since my first event at The Hacienda – and I’m so excited for what’s to come. This decision will free up my time to focus on my roles in the nighttime economy and hospitality sectors, and of course, most importantly, the birth of my first child with my beautiful wife Demi later this year.”
Lord is also Founder of the Sacha Lord Foundation, a charitable organisation which seeks to encourage and support young people entering the hospitality sector, and Chair of Wythenshawe FC.
Today’s news comes following an announcement that Arts Council England and Greater Manchester Combined Authority (GMCA) are probing a £400,000 Culture Recovery Fund (CRF) grant awarded to a business controlled by Lord called Primary Event Solutions (PES).
Lord said he would “fully cooperate” with the process and was confident that “the outcomes will confirm that Primary Events Solutions Limited has not misled the Arts Council or the public, nor has it misused any public money”. Both authorities are yet to publish any findings from the investigation.
Parklife, Europe’s largest metropolitan festival, was launched in 2010 and has welcomed the likes of Liam Gallagher, the 1975 and 50 Cent. The annual festival, held in Heaton Park, welcomes 80,000 gig-goers each day of the festival and is said to employ over 2,500 people.
The Warehouse Project was co-founded by Lord, Sam Kandel and Rich McGinnis in 2006. It plays host to internationally acclaimed artists including Disclosure, Megan Thee Stallion, Nile Rodgers & Chic, The Prodigy, New Order, The Chemical Brothers and Calvin Harris.
Located at the 10,000-capacity Depot Mayfield in Manchester, it welcomed over 275,000 customers during its 2023 season. Kandel and McGinnis will be staying on at the company.
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Arts Council England and Greater Manchester Combined Authority (GMCA) are probing a £400,000 Culture Recovery Fund (CRF) grant awarded to a business controlled by Parklife and The Warehouse Project co-founder Sacha Lord.
The £1.57 billion CRF was launched by the British government in 2020 to help the UK’s arts and culture sector weather the impact of Covid.
Lord, who is also Greater Manchester’s night time economy adviser and chair of the Night Time Industries Association, threatened to sue online local news publication The Mill for defamation after it alleged Lord had made “a series of highly misleading claims about the nature” of Primary Event Solutions (PES), in his ultimately successful funding application.
The Mill‘s report centres on PES, which changed its name from Primary Security to Primary Events in October 2020 – three months before the application was submitted – claiming to provide a wide range of event services rather than just security. Lord served as a director of the firm, which was wound up in September 2023, owing £67,637. He said diversification of its activities had been on the cards “from at least July 2020”.
“During the Covid lockdowns, I knew of many businesses pivoting to new sectors to survive,” he said. “This was something I actively encouraged other businesses to do and I wanted Primary Security Limited to do the same.”
Lord said The Mill‘s allegations “are all false”, with lawyers acting for the 52-year-old demanding the website take down the story and issue an apology. However, he has since withdrawn his threat, saying he has opted “not to pursue legal action for the time being”.
“Following The Mill’s first article on 16 May 2024, in which very serious and damaging defamatory allegations were made, I instructed lawyers to commence legal proceedings,” Lord said in a statement. “However, I have decided not to pursue legal action for the time being, but will review this position on an ongoing basis. I believe legal proceedings would be a major distraction from my work and family life and I also do not wish to stifle The Mill’s freedom of expression even though — in this instance — I reject their allegations in the strongest terms.”
“In light of new information that has been directly brought to our attention this week, we will be conducting additional checks on the application”
PES applied for more than £480,000 via the CRF and was awarded a total of £401,928.
The Manchester Evening News reports Arts Council England previously received a complaint about the grant in December 2022, but concluded there had been no misuse of public funds. The Arts Council says it will now make “additional checks” on the January 2021 submission.
“In light of new information that has been directly brought to our attention this week, we will be conducting additional checks on the application from Primary Event Solutions,” says the government-financed development agency.
A GCMA spokesperson adds: “We welcome the Arts Council England’s decision to undertake additional checks and will co-operate with this work. We have also begun our own fact-finding exercise based on new information.”
In response, Lord said he would “fully cooperate” with the process and was confident that “the outcomes will confirm that Primary Events Solutions Limited has not misled the Arts Council or the public, nor has it misused any public money”.
Lord is night-time economy adviser to Greater Manchester Mayor Andy Burnham, who told BBC Radio Manchester the claims would “be looked at properly”, but called for “some balance and recognition” of Lord’s impact on Greater Manchester’s nightlife. He added there was a “sense of a bit of a campaign that’s being launched” against Lord, who had done an “outstanding job” for the region.
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Take That have become the first band ever to play 50 shows at Manchester’s AO Arena.
The band, who first played the venue in 1995 during their Nobody Else Tour, reached the milestone during their five-night run at the venue from 7-12 May as part of their current This Life On Tour.
This Life On Tour has sold more than 700,000 tickets across 41 dates in 15 UK cities, making it the biggest-selling tour ticket sales for a UK artist this year. Plus the band broke their own record last month for the most number of shows performed at The O2 in London, with their tally now totalling 39.
“We’re delighted that we’ve been able to celebrate Take That’s 50th Show at the AO Arena, right here in the heart of the action,” says AO Arena general manager Jen Mitchell. “Not only do we enjoy having the band here, we love hosting their fans and making every moment memorable.”
“I’d like to thank AO Arena for stepping up and at the 11th hour to endure the mammoth task of working with ticket outlets to transfer tens of thousands of tickets”
Thousands of fans were surprised with Golden Tickets over the course of the residency, upgrading their experience into the arena’s new Mezz bar. The ASM Global-operated AO Arena has seen a £70m investment over the past two years, transforming the venue and upgrading its capacity to 23,000. The redevelopment has reimagined existing spaces and new offerings including The Mezz bar and restaurant and a new lower concourse.
AO Arena stepped in to host the five concerts, along with a show by A Boogie Wit da Hoodie, following a delay in the opening of rival Manchester site Co-op Live, which was originally due to host the dates.
“I’d like to thank AO Arena for stepping up and at the 11th hour to endure the mammoth task of working with ticket outlets to transfer tens of thousands of tickets,” adds Sacha Lord, night time economy adviser for Greater Manchester.
Upcoming concerts at AO Arena include Nickelback, Girls Aloud, Troye Sivan, Tool, Thirty Seconds to Mars, Becky Hill, The Corrs, Alice Cooper, Nick Cave and the Bad Seeds and Childish Gambino.
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The Great Escape (TGE) conference has announced its themes and first guest speakers for its revamped 2024 edition.
The UK music industry event returns to Brighton from Wednesday 15 May to Saturday 18 May, with the Council of Music Makers (CMM), The Night Time Industries Association (NTIA), BBC Introducing and Youth Music each set to curate a day of the programme.
Confirmed speakers include Lauren Mayberry (Chvrches), Parklife and The Warehouse Project co-founder Sacha Lord, who is also night time economy adviser for Greater Manchester and chair of the Night Time Industries Association, and the They Think It’s All Sober podcast.
In the second room, The Great Escape’s partners will host panels including TikTok x Ticketmaster, The Spanish Wave, Audio Network, BPI, Pollstar, and Music Declares Emergency.
TGE has also announced the return of the Steve Strange Award for its third year. Introduced in honour of the late live agent and X-Ray Touring co-founder, the award recognises a music act that is breaking through creative boundaries. The recipient, who will receive a cash prize of £5,000, will be revealed on Monday 20 May.
“The scope of what’s going to be covered is more in depth and bigger and better than ever”
“We’re incredibly excited for how this brand new evolution of The Great Escape conference is shaping up,” says Rory Bett, CEO of organiser MAMA Festivals. “By bringing in some of the industry’s biggest and best networks and experts to develop the event, the scope of what’s going to be covered is more in depth and bigger and better than ever. This is the UK’s number one event for networking and getting ahead in the music industry like you’ve never seen it before.”
On 16 May, the CMM, the umbrella organisation representing the Ivors Academy, Featured Artists Coalition, Music Managers Forum, MPG and the Musicians’ Union, will cover key areas for people working in the business of music creation
The following day, the NTIA will provide a deep dive into the night time economy and current the state of play for venues and live entertainment. Then, on 18 May, BBC Introducing and Youth Music will focus on professional development for the next generation of emerging artists and entrepreneurs.
Saturday will also feature partner panels hosted by AudioActive, an organisation creating social change through music, and educational event platform THEFUTUREIS.
New for 2024, TGE has launched a brand-new Saturday-only conference ticket for £35, with a Saturday conference & festival combo ticket priced £75.
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A parliamentary committee has urged the UK government to expand on-site drug testing at festivals.
In a newly published report, the Home Affairs Committee criticises drug laws as “outdated and in need of reform” and calls for a new legislative and funding framework that enables “practical, risk-reducing interventions such as establishing a pilot drug consumption facility and drug testing at festivals”.
The committee points out that countries such as the United States, Switzerland, Spain, Portugal, New Zealand, the Netherlands, Italy, Germany, Canada, Austria and Australia have established drug checking services for festival-goers.
“Drug-checking services can help reduce the harms caused by high strength or dangerous combinations of drugs, and provide advice on harm reduction to users,” it says. “The government should expand the availability of these services at music festivals and within the night-time economy, with a dedicated licensing scheme in place ahead of the 2024 festival season.”
UK promoters previously accused the Home Office of putting gig-goers “at risk” following an apparent U-turn on drug testing at festivals earlier this summer.
Manchester’s 80,000-cap Parklife festival was unable to test confiscated pills at the June event after drug testing nonprofit The Loop was informed it needed to apply for a special licence rather than relying on its agreement with the police. The licence costs upwards of £3,000 and can take three months to process.
Parklife had worked with police and The Loop to test confiscated drugs on site for the previous eight years. Attendees were previously able to submit drugs for testing to establish their content before consumption, with a “push notification” alert subsequently sent to them if the tests show the drugs are a serious threat to health.
“There is no safe way to take illegal drugs, which devastate lives, ruin families and damage communities, and we have no plans to consider this”
The festival’s founder, night-time economy adviser for Greater Manchester Sacha Lord, argued that without the provision of drug checking, the risk of drug-related harms or overdose at festivals could increase.
However, a Home Office spokesperson moved to distance the government from the committee’s recommendations.
“There is no safe way to take illegal drugs, which devastate lives, ruin families and damage communities, and we have no plans to consider this,’ says the spokesperson. “Our 10-year drugs strategy set out ambitious plans, backed with a record £3bn funding over three years, to tackle the supply of illicit drugs through relentless policing action and building a world-class system of treatment and recovery to turn people’s lives around and prevent crime.”
In 2016, Secret Garden Party became the first British camping festival to give attendees the chance to test the content of their drugs without fear of recrimination, with Kendal Calling following a week later. A drug harm-reduction campaign piloted by the Irish HSE (Health and Safety Executive) at last summer’s Electric Picnic was also rolled out across a number of other festivals in Ireland this summer.
In the wake of the latest report, Night Time Industries Association CEO Michael Kill is calling for urgent modernisation of the UK government’s drug policy.
“The Misuse of Drugs Act 1971 has served its purpose, but the landscape has evolved dramatically since its enactment,” says Kill. “Our European neighbours have taken proactive measures to address drug-related challenges, prioritising harm reduction and public safety. It is high time for the UK to catch up and adopt a more pragmatic and modern approach.”
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UK promoters have accused the Home Office of putting gig-goers “at risk” following an apparent U-turn on drug testing at festivals.
The Guardian reports that Manchester’s 80,000-cap Parklife festival was unable to test confiscated pills last weekend after drug testing nonprofit The Loop was informed it needed to apply for a special licence rather than relying on its agreement with the police.
Parklife co-founder and night-time economy adviser for Greater Manchester Sacha Lord decries the late intervention by the government department.
“Drug testing onsite has been an essential part of the work we do with the support of Greater Manchester police to keep festivalgoers safe. This move is a disappointing, senseless U-turn of government policy that puts people at risk,” he says.
“This huge misstep from the Home Office could set a potentially dangerous precedent for the summer’s festival season. We call for an immediate reversal of this decision so that organisers can continue to prioritise the safety of festivalgoers.”
“If festival organisers fear their safeguarding measures will be pulled at the 11th hour, then how can we guarantee the wellbeing of our guests?”
The Heaton Park event had worked with police and The Loop to test confiscated drugs on site for the previous eight years. Attendees were previously able to submit drugs for testing to establish their content before consumption, with a “push notification” alert subsequently sent to them if the tests show the drugs are a serious threat to health.
Festival Republic MD Melvin Benn describes the latest turn of events is “extremely worrying” for both the industry and fans.
“If festival organisers fear their safeguarding measures will be pulled at the 11th hour, then how can we guarantee the wellbeing of our guests?” he tells the Guardian.
In response, a spokesperson for the Home Office says: “Anyone interested in undertaking lawful activities involving the possession, supply or production of controlled drugs, including those who wish to provide drug testing services, need to apply for a Home Office licence.
“Festival organisers in consultation with local partners are responsible for decisions relating to drug testing at festivals. We will continue an open dialogue with prospective licensees throughout the festival season.”
According to festival organisers, a Home Office licence can cost in excess of £3,000
In 2016, Secret Garden Party became the first British camping festival to give attendees the chance to test the content of their drugs without fear of recrimination, with Kendal Calling following a week later. Jon Drape, whose Ground Control Productions company works with Kendal Calling, told IQ at the time drug testing is a “no-brainer”, adding around a quarter of those who tested their drugs opted to bin them after discovering their content.
According to festival organisers, a Home Office licence can take more than three months to be granted, and can cost in excess of £3,000 (€3,500).
It was recently announced, meanwhile, that drug harm-reduction campaign piloted by the Irish HSE (Health and Safety Executive) at last summer’s Electric Picnic is being rolled out across a number of other festivals in Ireland.
The Safer Nightlife programme will include “back of house” drug checking through the use of surrender bins, media awareness and a social media campaign. Teams of HSE trained volunteers will available to talk about the scheme, drug trends and harm-reduction practices with attendees, while also supporting people in cases of drug emergencies.
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Parklife and The Warehouse Project co-founder Sacha Lord has been appointed chair of the UK’s Night Time Industries Association (NTIA) board of directors.
Lord, who is night time economy advisor for Greater Manchester, has worked with the NTIA and stakeholders across the UK over the last two years.
The trade association has been at the heart of the fight to gain representation and support for businesses throughout the pandemic.
“The Night Time Industries Association is a critical player in the sector, and has been a key voice in representing operators, not just in London but nationally across the UK,” says Lord.
“I am honoured to be joining as chair at this pivotal time in the sector’s recovery. There is still so much work to be done to help operators through these difficult times, and I wholly support the NTIA in their efforts to create better working practices for those in the industry, achieve greater funding for businesses nationwide, and develop vital initiatives to ensure everyone working within, or using the night time economy, gets home safely.”
“We are looking forward to harnessing his passion and drive in establishing a stronger voice for the sector”
NTIA CEO Michael Kill adds: “I have been lucky enough to have worked very closely with Sacha over the last three years, and alongside welcoming him as the chair of the board of directors at the Night Time Industries Association, would like to personally thank him on behalf of the industry for his exceptional work and support during the crisis.
“As a leading figurehead within our industry, we are looking forward to harnessing his passion and drive in establishing a stronger voice for the sector, adding another dimension to the public and political agenda to drive home positive change, and support an extremely ambitious strategy for the sector in the future. The unanimous appointment by the board is testament to the tireless work that he has put into representing this industry.”
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More than 5,000 unlawful parties are expected to take place in the UK over the new year weekend, the Night Time Industries Association (NTIA) has warned.
The association, which represents more than 100 nightclubs, bars and music venues, says there is a risk of “millions of people converging across the UK” from 31 December–3 January, sparking fears of a fresh coronavirus outbreak in January.
The situation, it says, is exacerbated by the ongoing closure of most night-time businesses, which “would normally manage huge crowds of people through the new year’s celebrations”.
Illegal raves have been on the increase across Europe since the summer as frustration builds over coronavirus restrictions preventing legal gatherings.
“There is a growing concern that new year’s eve is going to culminate in social unrest”
“There is a growing concern that new year’s eve is going to culminate in social unrest and will see a substantial number of illegal parties and mass gatherings following the closure of businesses at 11pm, with a real risk of overwhelming the police and emergency services,” comments Michael Kill, CEO of the NTIA.
“We are estimating that the UK will be witness to over 5,000 illegal parties across new year’s eve weekend. The government needs to consider ways in which to manage this grave situation – people will want to celebrate the end of 2020 in their own way, so ignoring the issue will not resolve what will be a significant car crash in every sense of the term.”
Parklife promoter and Manchester night czar Sacha Lord adds: “The closure of hospitality venues in tier three, combined with the 11pm curfew elsewhere, only serves to encourage house parties and outdoor gatherings, and it’s inevitable we will see an increase of these on new year’s eve.
“I urge all those considering hosting or attending a gathering to think about those around them who may be vulnerable to Covid-19, and to put their health and safety first.”
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Some of the most prominent artists from the UK’s dance music sector have joined forces with festivals, nightclubs and industry figures to issue an urgent plea for support from the government.
The #LetUsDance campaign urges the government to recognise dance music clubs and events as an important part of the nation’s art and culture in parity with the wider live music sector, to ensure equal access to support.
The campaign also encourages fans, artists and industry professionals to post a photo from a recent club night or dance festival, along with the #LetUsDance hashtag, with a note supporting its place within arts and culture. Supporters can also send a letter to their local MP to emphasise the importance of the sector.
The call for support comes following the live music industry’s #LetTheMusicPlay campaign, which preceded the announcement of a £1.57 billion support package for Britain’s arts and culture sector.
However, the government narrative to-date on the allocation of this support has been unclear, and appears not to include nightclubs, dance music events and festivals.
The Night Time Industries Association states it is “keen to gain assurances from government that dance music venues and nightclubs will be eligible to apply for the funding”, fearing it may “be reserved purely for venues like the Royal Albert Hall and the West End”.
“We call on the government to recognise this sector as a significant part of the nation’s art and culture, and ensure fair and equal access to the support offered to the wider live music sector”
The campaign is supported by artists including Fatboy Slim, Massive Attack, Thom Yorke, Simone Butler of Primal Scream, Caribou, Four Tet, Norman Jay OBE, Daniel Avery, Charlotte de Witte, Pete Tong and Andy C.
“Nightclubs and festivals are the beating heart of the UK dance scene; providing collective joy to millions of fans each year, providing employment and incomes for an interdependent network of hundreds of thousands of people, while contributing hundreds of millions to the economy,” says Greg Marshall, general manager of the Association for Electronic Music (Afem).
“We call on the government to recognise this sector as a significant part of the nation’s art and culture, and ensure fair and equal access to the support offered to the wider live music sector.”
Sacha Lord, founder of the Warehouse Project club nights and nightlife advisor for Greater Manchester says he is “astounded and confused” that the government’s arts rescue package does not include the UK dance music industry.
“There has always been an elitist snobbery towards electronic and dance music, however, I would argue that this sector reaches more people in terms of culture, as some of our theatres do,” says Lord.
“I call out the government, not only to recognise this part of the industry, but also put in place guidance and support to protect our venues, festivals, artists, freelancers, and supply chain. That is why today, I’m fully backing the #LetUsDance Campaign.”
There are over 1,600 nightclubs across the UK, which play a significant role in supporting the wider night-time economy that generates £66bn in revenue per year (6% of the UK’s total).
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