In a strongly worded statement shared on Instagram, the charity called on Prime Minister Sir Keir Starmer and his government to take “urgent and decisive action” to prevent widespread closures and steep ticket price hikes within the live music sector. The organisation warned that the incoming 2026 Business Rates Revaluation would disproportionately affect small and independent venues already operating on narrow margins.

“The entire music industry is united in calling for Sir Keir Starmer and his government to take urgent and decisive action on business rates before ticket prices soar and venues close,” the post stated. Describing the policy as “a closure notice” for hundreds of stages, the Trust urged fans, artists and industry figures to rally behind their campaign for reform. “We have come together today to sign a joint letter to the Prime Minister.”

The MVT has consistently argued that grassroots venues provide vital infrastructure for the UK’s cultural ecosystem, serving as the first performance spaces for emerging artists and local talent. The charity has warned that rising operating costs, including energy bills, rent, and licensing fees, have already placed enormous strain on many venues since the COVID-19 pandemic.

A Treasury spokesperson has publicly acknowledged in a Sky News Article that some music venues will face higher costs as support schemes end and valuations rise, but pointed to a multi‑billion‑pound support package, tax reliefs and targeted cultural funding as evidence that the government is already acting. 

Even still, according to data collected by the organisation, more than 100 grassroots venues permanently closed in 2024, representing a loss of thousands of live performance opportunities nationwide. Campaigners say that additional taxation could make it impossible for many operators to remain open, leading to a reduction in live music availability and further centralisation of the industry around major cities. 

The MVT is calling for a review of how business rates are applied to cultural spaces, arguing that current models treat live music venues in the same way as bars or nightclubs rather than recognising their cultural and community value. The Trust has urged the Treasury to explore a targeted relief or exemption system, similar to schemes already in place for theatres, museums, and arts centres.

Industry organisations, including UK Music and the Night Time Industries Association, have previously supported calls for structural reform to business rates, describing the tax as outdated and disproportionately burdensome for smaller, independently operated spaces. Observers warn that without better government intervention, the UK risks losing a critical part of its creative infrastructure, one that has historically been essential to the careers of many major artists.

Featured Image Credits: Prism.fm

Since its beginning back in 2005, Dot To Dot has built a formidable reputation as a launchpad for emerging artists, with past alumni including The 1975, Squid, Sports Team, and Yard Act, each of whom graced its tightly packed city-centre stages long before their breakout moments. The 2026 line-up continues that legacy, once again curating a vivid variation of scenes spanning punk, indie, pop, and electronic experimentalism.

Fronting this year’s billing, Lambrini Girls bring their uncompromising queer punk energy to the festival, fresh off a year that’s seen them take their anti-establishment message across Europe. Known for their chaotic live sets and powerful tracks challenging misogyny and right-wing politics, their appearance promises one of the weekend’s most cathartic moments, merging activism with pure adrenaline release.

Joining them are Fcuckers, a high-energy quartet who’ve surged in 2025 following their blistering 2024 EP Baggy$$. Unboxed by genre, expect a wonderful mesh of sound including house, trip-hop, jungle and electro-indie alongside a lively crowd. Their show is set to be one of Dot To Dot’s absolute highlights.

Galway’s NewDad add balance to the chaos with their shimmering dream-pop, anchored by vocalist Julie Dawson’s melancholic delivery and the band’s lush, echoing guitars. After releasing their critically acclaimed debut MADRA, they propelled from Irish indie icons to an international touring act. Their Dot To Dot appearance marks a welcome return to the UK’s smaller venues following a run of major festival bookings.

Beyond the headliners, Dot To Dot’s first wave also features a selection of emerging names sitting at the intersection of pop experimentation and underground grit. Early confirmations include London’s dream-pop, lounge-jazz singer-songwriter Sarah Meth, Brighton’s post-punk, electro-folk band AtticOmatic, and Bristol’s beloved post-punk quartet Grandma’s House, adding genre diversity to an already wide-ranging bill.

Taking over Bristol’s city centre on Saturday, May 24, before heading north to Nottingham on Sunday, May 25, Dot To Dot will again transform small venues, bars, and converted spaces into a labyrinth of live music. For many fans, part of the magic lies in the festival’s format as a multi-venue crawl where stumbling upon an underground, prospective star in a 200-cap room is all part of the thrill.

Tickets are on sale now via the festival’s official website, with more artists expected to be announced in early 2026.

Featured image credits: Dot To Dot Festival Instagram 

 James Ainscough OBE, Chief Executive of the Royal Albert Hall and founding trustee of the LIVE Trust spoke about the decision a press release. He said that “By embracing the £1 contribution and becoming the first arena where it is ‘always on’, we are adding this charity’s name to the growing momentum around the £1 grassroots contribution.

He added “[I] look forward to playing my part in ensuring that every pound raised has the maximum impact, securing a thriving grassroots music sector for generations to come.”

Jon Collins, Chief Executive of LIVE, continued: “For such an important and iconic venue as the Royal Albert Hall to make this commitment is a huge indicator of the growing levels of confidence in the LIVE Trust. With an ever-increasing schedule of major tours announcing their support alongside numerous individual company initiatives, which are creating new revenue opportunities, the LIVE Trust is well placed to begin its mission to support grassroots music across the UK, he added. “We thank the team at the Royal Albert Hall for this forward-thinking and innovative announcement and hope that others will be inspired to follow suit.”

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 LIVE trust offers vital financial support to those working across live music in the UK delivering funding within the sector where it is needed most. The initial focus of the charity is on the UK grassroots music sector where LIVE trust is working to support venues, artists, festivals, and promoters. The recent £1 ticket levy has been supported publicly by huge names such as Sam Fender, Katy Perry and Coldplay – all of whom are donating portions of their tour revenue to the grassroots sector. To read more about the trust and their £1 ticket levy visit the website here.

This comes in light of nationwide strategies to boost the music sector. The UK government also recently announced a significant boost to the sector through the unveiling of a Music Growth Package which will deliver £30 million in public funding to help support breakthrough artists and grassroots venues. In case you missed it, MXDWN’s recent coverage of the UK government’s Music Growth plan can be read here.

The review launched today (June 4) will explore a multitude of factors impacting the live music sector in this country. Specific matters at hand include “tackling venue closures, unaffordable touring costs, safety at shows and the wider experience of music fans.”

This announcement will come as a sign of encouragement for industry leaders, as it shows much more urgency towards these issues than previous governments have. Just last month, MPs were warned at a committee that not enough progress was being made and that the nation was falling behind.

The proposed £1 ticket levy on all gigs at arena level and above was a contentious talking point at the committee last month, after a survey in April found that 93% of music fans agree with introducing such legislation.  

Many groups and charities have been urging the government to enact statutory change, claiming the current measures are just not enough. Music Venue Trust (MVT), a charity which acts to “protect, secure and improve UK grassroots music venues”, have been one of the most out-spoken groups on the matter.

In a response to todays announcement, MVT said: “This review came as a direct response to long-standing concerns raised by venue operators, artists, promoters and campaigners, including MVT. It is a vital chance to put sustainability, fairness and access at the heart of the live music industry.”

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The fan-led review was announced by Culture, Media and Sport (CMS) Committee Chair Dame Caroline Dinenage, following on from recommendations made by the previous parliament.

Speaking on the importance of the new review, Dinenage said: “Despite some headway being made on an industry-led levy to support grassroots music, venues are still shutting their doors at an alarming rate, while the government continues to stick its fingers in its ears when it comes to calls for a fan-led review. 

“It’s time to put the power in the hands of those who truly understand and love live and electronic music – the fans, artists, DJs and festival goers, as well as those who work behind the scenes.”

Dame Carloline also revealed that she has tabled an amendment to legislation currently going through parliament, where she intends to strengthen the rights of music venues in cases of noise complaints with new neighbours.

If the ‘Agent Of Change’, which it’s been named, passes through parliament, it will be welcomed by nightlife venues up-and-down the country, especially in London after March’s announcement of designated ‘quiet zones’ being introduced in an effort to appease local residents.

Utterly pathetic. Westminster councillors – Soho! the West End! – launch a plan “encouraging venues to host ‘quiet nights’ with reduced noise levels, dimmed lighting” & less drinking.

If people living in flats in the centre of one of the world’s biggest cities want “quiet… https://t.co/XC7XXwZa34

— Benjamin Butterworth (@benjaminbutter) March 13, 2025

Michael Knight, CEO of Night Time Industries Association (NTIA), emphasised the need for such legislation, saying: “Putting the Agent Of Change principle on a statutory footing is essential to protecting our venues from unfair closures and costly disputes.

“It ensures that new developments take responsibility for managing their impact, safeguarding the future of our grassroots music venues, clubs, and cultural spaces that are the heartbeat of our towns and cities.”

Whether the newly announced review is urgent and powerful enough to save venues – such as The Leadmill in Sheffield which recently announced it’s upcoming closure – is a question that only time will answer. Industry leaders will, however, be praying that it leads to true legislative change.

Music Venue Trust (MVT) CEO Mark Davyd and Wolf Alice guitarist Joff Oddie were among the most notable names to speak, highlighting their personal experiences in a bid to urge the government to act faster.

The main talking point among the committee seems to be the proposed £1 ticket levy on gigs at arena level and above – aiming to transfer that money back into the industry – with claims that it is not working as effectively as hoped.

Mark Davyd pointed out to the committee that at it’s current speed, a full levy covering the whole industry wouldn’t be in place until 2032, saying: “Of nearly 6 million tickets that have been released since the December 18 ministerial meeting when we all agreed that it was going to be on every ticket, 92 per cent of those tickets don’t have it.”

The levy is currently based on a system of voluntary artist-led donations, rather than a compulsory levy on every venue. This isn’t enough, claims Davyd, with the grassroots industry missing out on millions of pounds that could be instantly used.

“This year alone, there are already 22.3 million tickets on sale for gigs at arenas and stadiums in this country. That’s £22.3 million we could be spending right now.

“There are different opinions about priorities of investments. I’m going to say that with £22.3 million, every great idea we’ve got could be funded.” Davyd told the hearing.

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Minister for Creative Industries, Arts and Tourism, Sir Chris Bryant MP, admitted that he’d have “preferred us to have achieved a lot more by now”, but pointed out the difficulty in implementing a mandatory levy.

Speaking at the committee, Bryant stated: “We’ve said that we want it to be a voluntary levy because it’s quicker to achieve. Everything that has to require statute takes forever and a day. I don’t know when the next King’s Speech will be, so I don’t know when we’d be able to legislate.”

He pleaded to the “big players” such as Live Nation to “step up a bit more”, adding: “I just want everybody who’s considering a big tour in the UK coming up in the next year or so to sign up, then we’ll have millions of pounds going to smaller grassroots venues.”

 

 

 

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Wolf Alice guitarist Joff Oddie also spoke at the hearing, as he warned that “one of the things we risk is that music becomes a middle and upper class sport” due to rising touring costs and less opportunities.

He told the committee: “We’re already seeing that representation decline. There are all kinds of statistics showing that’s gone down in the last 15-20 years – especially for people outside the south east of England.”

Oddie concluded with the powerful statement: “Unless we feed the pipeline, we’re just going to have people going to see US pop stars at Wembley.”

Although more clearly needs to be done in terms of financially supporting grassroots venues and artists, awareness of the issue is on the rise. 

Yesterday (May 13), the Mayor of London collaborated with Music Venue Trust and Featured Artists Coalition to release a reimagined map of the London Underground, highlighting grassroots venues within the city. Only time will tell whether these types of campaigns lead to true change for the industry.

GMVs staged over 162,000 events in 2024, contributing £526 million to the economy, yet they effectively subsidised live music by £162 million while operating on razor-thin margins. A concerning 43.8% of venues reported losses in the past year, with emergency response cases rising by 19%, meaning nearly a quarter of venues face the threat of permanent closure. The report underscores the urgent need for enhanced financial support and stronger protections to safeguard the sector’s future.

The following graphic from the report illustrates the different percentages for reasons for closure of these small independent venues:

In the UK live music sector, the primary touring circuit consists of locations that host more than two-thirds of national grassroots tours, typically encompassing major cities such as London, Manchester, and Birmingham. Meanwhile, the secondary circuit includes venues in smaller cities and towns that host at least one-third of national tours, playing a crucial role in supporting emerging artists and local audiences.

The report highlights a dramatic shift in the scale of UK tours over the last three decades. In 1994, the average tour comprised 22 stops; by 2024, this number had dwindled to just 11. Cities such as Leicester, Edinburgh, and Wolverhampton have disappeared from the circuit, leaving large swathes of the country—particularly in Wales and Scotland—without convenient access to live music or the nurturing environments that GMVs provide for aspiring artists.

Mark Davyd, CEO of the Music Venue Trust, commented on the findings: “The 2024 Annual Report recognizes that after 10 years of work by MVT, a very broad consensus has been built among politicians, industry, artists, and the public that grassroots music venues must be protected, supported, encouraged, and nurtured. […] Venues, despite all the very welcome good intentions and acknowledgements they are receiving for their vital work, are still closing, still under extreme and totally unnecessary financial pressures, still failing to be recognised, as everyone agrees they should and must be, when government designs policy, taxation, and legislation. It isn’t good enough to keep saying how much we all value them, we’ve got to practically do something about it. We need action, not words.”

The report makes it clear that without decisive action, the UK’s grassroots music scene could face an irreversible decline, stripping communities of vital cultural hubs and emerging artists of essential opportunities.

This residency is just the latest in a suite of programs offered by the Beacon, including workshops, intensives, and mentorships. With support from the PRS Foundation—“the UK’s leading charitable funder of new music and talent development”—artists gain access to studio space, professional guidance, and financial assistance. Every Tuesday, they can create music in dedicated studio time, while collaborating with like-minded creatives.

The venue claims to be “making space for the scene. For the artists, producers, managers and music industry professionals of the future to create, collaborate, grow and glow.”

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The residency’s first cohort showcases the breadth of Bristol’s thriving music scene.

Grove, a producer and vocalist, is already making waves with their electrifying fusion of dance, grime, and punk ethos. Known for deep electronic synths underpinning spoken-word lyrics, Grove’s work channels rebellion and empowerment. Their Glastonbury performance with collaborator ej.akin and a recent Boiler Room set have cemented their status as a boundary-pushing artist.

“It’s the holy trinity of time, space, and money that is so useful for us as artists,” Grove told the BBC, reflecting on the residency’s significance.

Holysseus Fly, the alias of Holly Wellington, brings a distinctly atmospheric sound to the program. A former keyboardist and singer for the Ishmael Ensemble, Wellington’s solo work combines haunting vocals with piano and synth strings, drawing inspiration from artists like James Blake and Florence Welch.

A breast cancer diagnosis in 2019 marked a turning point in her artistic journey. Since then, she’s performed at Glastonbury and Forwards Bristol, opened for Nick Mulvey, and completed a residency at Snape Maltings. Known for her dynamic stage presence and lush production, Wellington described her musical philosophy: “For me, the piano and vocal are the most important. I want my sound to be both minimal and bold.”

The trio is rounded out by Waldo’s Gift, an instrumental band blending electronic textures with rock influences in a jazz-esque experimental way. Their intricate compositions build hypnotically, with twisted guitar riffs and scattering drum beats creating a sound that’s both inventive and approachable. Reactions to their music on youtube especially praise the refreshing sound of their innovation. 

Drummer James Vine emphasised the program’s transformative impact. “It’s the difference between being able to do this viably as a career or not, so it means everything to us,” he told the BBC. The band’s debut album, Malcolm’s Law, drops on January 25, 2025.

The significance of Bristol Beacon’s efforts extends beyond the individual artists it supports. Grassroots music has struggled in the wake of the pandemic, with economic pressures squeezing both venues and musicians. Programs like this residency not only secure the future of new music but also foster a sense of community.

Music, after all, is an undeniable force for bringing people together. Whether it’s Grove’s fiery dance anthems, Holysseus Fly’s ethereal soundscapes, or Waldo’s Gift’s inventive riffs, these artists are shaping a scene that thrives on connection and innovation.

As larger venues like Glasgow’s OVO Hydro implement levies to sustain grassroots initiatives, Bristol Beacon’s residency program offers a blueprint for nurturing talent at its source. The impact, as the first wave of participants is proving, will, with any luck, be felt for years to come.

The proceeds of these events have been earmarked for funding the city’s struggling grassroots music venues.

It’s a small price for concert goers but one that could generate as much as £160,000 annually. The funds would act as life support for venues on the brink, the kind of places where future stars learn the art of live performance.

Venues such as the Hydro arena in Glasgow will be expected to uphold the policy, dubbed the “mega-gig levy,” which is acting like a lifeline for an industry reeling from the aftermath of pandemic closures, rising rents, and thin margins. According to the Music Venue Trust, the average grassroots venue ekes out a mere 0.5% profit. Compare this to the eye-watering revenues of ticketing giants like Ticketmaster, and the disparity feels almost Dickensian. “Without grassroots venues, many of the big names we celebrate today simply wouldn’t exist,” Green Party councillor Christy Mearns remarked in a recent council session. Her sentiment echoes far beyond Scotland.

I’m delighted to have received cross-party support today for a Stadium Levy pilot to be developed at the Hydro. It’s vital that this is considered as an opportunity to raise much-needed revenue for our important grassroots venues which are struggling…https://t.co/zhTANI4TdR

— Cllr Christy Mearns (@ChristyMearns) December 12, 2024

In response, to a difficult year for small venues in 2023, the UK government is now urging a voluntary ticket levy across the country’s major arenas and stadiums, with an industry-wide rollout aimed for 2025. Creative Industries Minister Sir Chris Bryant has called for tangible progress by early next year, signalling that the clock is ticking for grassroots spaces. As he noted: “Grassroots music venues are one of the UK’s most valuable and yet undervalued cultural assets. They are where bands try out new material, where whole new genres are born, where musicians experiment and where audiences get to experience the raw power of live music.” 

This Glasgow initiative is more than an isolated policy; it’s a leader for other venues to follow. Groups like the Music Venue Trust and Save Our Scene are rallying for nationwide adoption after the government has voted to introduce a voluntary levy to large venues, arguing that such measures are not just financial stopgaps but moral obligations in an industry built on communal experience.

Grassroots music venues are where the art of live performance is made —venues that once nurtured acts like Arctic Monkeys and Adele. They are also a means of fuelling local economies and providing a lifeline to communities. The levy is a modest, almost poetic gesture: the megastar reaching back to lift the next unknown dreamer onto the stage. It’s a sound investment in every sense.

Our Chair @cj_dinenage has written to the @DCMS Secretary of State asking her to set a deadline for negotiations on an industry-led levy to support GMVs.

Without significant progress, we will invite the sector to appear before us in May 2025 to inform further action.

— Culture, Media and Sport Committee (@CommonsCMS) November 15, 2024

The levy, which seeks to divert a small percentage of ticket sales from major events to grassroots venues, will officially begin its trial year in 2025. To meet this target, the government expects to see tangible progress within the first quarter of the year, suggesting that preparations must start immediately.

Artists like Coldplay, Sam Fender, and Katy Perry have already pledged portions of their tour earnings to the initiative, which has garnered support from organisations such as LIVE and the Music Venue Trust (MVT). However, some key players, such as venue operators and promoters, have yet to announce their involvement. ASM Global, a company managing venues like Manchester’s AO Arena, has partnered with MVT to enable fan donations, though this approach shifts the financial burden onto customers rather than the industry. 

 

 

 

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In response to concerns raised by the DCMS Committee, the government plans to host a ministerial roundtable with live music representatives before Christmas. This meeting aims to address logistical barriers and establish an actionable roadmap for the levy’s rollout. This collaboration with experts with hands-on knowledge of grassroots challenges should ensure the focus remains on effective, targeted solutions.

Dame Caroline Dinenage highlighted the importance of this collaboration, stating: “The ball is now very firmly in [the industry’s] court, and we will continue to keep a very close eye on progress.”

We are delighted to be developing and expanding this partnership and look forward to continuing to develop ways we can work together.

— Music Venue Trust (@musicvenuetrust) December 9, 2024

Although the government has avoided setting (or at least announcing) specific funding targets, this flexibility allows them to adapt any expectations to unforeseen challenges. The trial year will serve as a litmus test to identify potential roadblocks and refine how funds are distributed. An independent evaluation will measure the levy’s impact on struggling venues.

Lessons could be drawn from France’s levy model, which generates over €200 million annually for small venues. Comparatively, the UK scheme faces a precarious starting point: 125 grassroots venues closed in 2023, and many more remain at risk of shutting down before the trial concludes. While the government remains optimistic, the absence of immediate funding mechanisms means some venues may not survive long enough to benefit from the initiative. With the live music sector contributing £6.7 billion annually to the UK economy, these spaces serve as vital incubators for new talent and community cohesion.

Unless the government acts now, next year’s #SpotifyWrapped might not feature the most exciting and talented up-and-coming artists. We demand the government introduces a small ticket levy on arena and stadium shows now. Write to your MP: thecorbynproject.com/musicforthemany #MusicForTheMany

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— Peace & Justice Project (@peaceandjustice.bsky.social) 4 December 2024 at 19:40

With the first quarter of 2025 fast approaching, the pressure is on for the industry to act. The voluntary levy represents a chance to protect the foundation of the UK’s music scene while proving that collaborative, non-mandatory solutions can succeed.

As the trial nears, all eyes will be on the government and major players to ensure that no time, resources, or venues are wasted in preserving the cultural and economic backbone of British music.

The fund, which is part of Spotify’s ‘Creator Equity Fund Program’, comes at a critical time. According to Youth Music’s recent ‘Sound of the Next Generation Report’, two-thirds of grassroots music spaces are focused on short-term survival, while a quarter face potential closure. Rising costs, dwindling funding, and increased demand for services have compounded the challenges for these spaces, which are crucial for young people’s mental health and artistic growth.

“The grassroots music sector is the beating heart of our world-famous music industry.” We’re teaming up with @YouthMusic to make sure it stays that way—here’s how. https://t.co/SNENwSiApH

— Spotify News (@SpotifyNews) November 27, 2024

Spotify’s funding will support diverse projects, such as a youth-led studio in a coastal town and a music initiative for minoritised women and marginalised genders. Dina Gabriel, Spotify’s Global Head of Diversity, Equity, and Impact, emphasised the importance of these spaces in nurturing future talent, stating: “By working with Youth Music, we can safeguard these spaces and the opportunities they create.”  

Grassroots music venues are not just performance spaces—they are cultural and community cornerstones, employing locals and providing a ‘third place’ for people. Yet, financial instability has led to widespread closures, with 125 venues closing their doors in 2023. Rising rents and utility bills have forced many operators to consider drastic measures, threatening the foundation of the UK’s live music industry.

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Government interventions, such as a recently proposed voluntary £1 ticket levy on arena shows, aim to redistribute funds to struggling grassroots venues. Overseen by a sector-linked charity, the levy’s effectiveness will be reviewed after 12 months, with potential to become mandatory.

Culture Secretary Lisa Nandy highlighted the vital role of such spaces: “The grassroots music sector is the beating heart of our world-famous music industry. It is vital for emerging artists to hone their talents, as well as providing thousands of jobs and spaces for young people to explore their love of music.” She praised the Spotify-Youth Music partnership as a step toward protecting the talent pipeline.

Elsewhere, initiatives in Merseyside and the West Midlands are exploring long-term solutions. £6.75m of investment in Liverpool City Region’s MusicFutures will fund training, technology integration, and sustainability projects, in a push to ensure the sector will no longer need to rely on outside support.

While the Spotify and Youth Music fund addresses immediate needs, questions remain about the long-term sustainability of grassroots spaces. Charity leaders and government officials agree that systemic change is needed to ensure these hubs don’t rely solely on short-term funding.