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

Although live music events rising with ticket platforms like Skiddle reporting record-breaking sales of £163 million, and electronic music accounting for the majority, the live music scene remains under pressure.

In 2024, the UK lost a grassroots music venue every fortnight, totalling 25 closures of vital spaces that develop emerging talent.

Plea to save UK’s grassroots music venues as hundreds face closure: ‘We’ll all be poorer for it’ https://t.co/H3a9QGNhmV

— Big Issue (@BigIssue) January 31, 2025

The decline in club culture is also concerning. Night Time Industries Association (NTIA) recently released a report highlighting the number of clubs in the UK dropped from 874 to 851 in 2024 with a 10 million drop in electronic-based club nights.

Speaking to Mixmag about this report, CEO of NTIA Michael Kill, “Electronic music is one of the UK’s most significant cultural exports, contributing an estimated £2.4 billion to the economy in 2024 alone. Yet, despite its undeniable influence and growth, it remains hidden and marginalised by the Department for Culture, Media and Sport (DCMS). This report reinforces the importance of electronic music having a seat at the table – DCMS must recognise this sector as a truly valuable commodity, not an afterthought.”

“For too long, the electronic music industry has been overlooked when it comes to policy and support,” Kill said, demanding for more government invtervention. “It is time for the government to engage meaningfully, acknowledging its vast economic and cultural impact. This is not just about music – it is about jobs, communities, and the UK’s standing on the global stage.”

In response to mounting pressure, the UK government announced a new policy in November 2024 aimed at supporting grassroots venues. Under this initiative, every ticket sold for arena or stadium shows must include a financial contribution to grassroots venues, promoters, and artists. The Music Venue Trust hailed this as “the single most significant shift in over fifty years of British music.”

 

 

 

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While the economic impact of music in the UK is undeniable, ensuring long-term sustainability requires urgent policy changes and greater recognition of the industry’s most vulnerable sectors. If grassroots venues and club culture continue to decline, the country risks undermining the very foundation that made it a global music powerhouse.

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 meeting, chaired by Sir Chris Bryant, Minister for Creative Industries, Arts and Tourism, brought together key figures from the live music industry, including representatives from LIVE (Live Music Industry Venues & Entertainment). Although the full attendee list hasn’t been disclosed, nor has the content of the meeting, notable contributions could have come from LIVE board members John Drury, Chair of the National Arenas Association, and Kelly Wood of the Musicians’ Union, though their board is made up of 20 different heads and chairs of various music organisations.

Though neither Drury or Wood have made comments on the meeting, Drury posted on LinkedIn praising the support from ASM Global to the Music Venue Trust when the announcement was made two weeks ago. Drury is a major voice in this conversation, involved in both the OVO Arena London and with a significant role at ASM Global.

It was heartening to hear the minister once again endorse the government’s desire to support grassroots venues, festivals, artists and promoters.” – Jon Collins, CEO, LIVE

— Music Venue Trust (@musicvenuetrust) December 18, 2024

LIVE’s CEO, Jon Collins, outlined a cautious yet hopeful perspective on the levy’s potential, emphasising that any scheme must involve continued collaboration, as well as the need to accelerate the process of establishing a body to distribute the funds. LIVE, established during the COVID-19 pandemic to advocate for the industry, is keen to ensure the initiative delivers tangible results.  

Commenting on the meeting, Mark Davyd, CEO of MVT said: “We want to thank the LIVE team for all the hard work to reach a consensus on pushing ahead with the much discussed grassroots contribution from every arena and stadium ticket sold. The meeting today with Minister for Culture Chris Bryant was a great example of the whole ecosystem pulling together to create an outcome that, ultimately, benefits all of us working in the live industry and everyone who loves live music.” 

The meeting today with Minister for Culture Chris Bryant was a great example of the whole ecosystem pulling together to create an outcome that, ultimately, benefits all of us working in the live industry and everyone who loves live music.” – Mark Davyd, CEO & Founder, MVT — Music Venue Trust (@musicvenuetrust) December 18, 2024

France’s statutory 3.5% ticket levy, which supports grassroots venues, promoters, and artists through centrally administered funds, has frequently been cited as a reference point when discussing the UKs own potential levy. Jon Collins of LIVE stressed the importance of adapting to the UK’s unique VAT structure in a May report, warning against a wholesale replication. However, the French model’s proven ability to stabilise its grassroots ecosystem highlights what a structured approach, backed by the government, can achieve.

In that same report, Mark Davyd noted a critical distinction: France requires international touring acts to contribute, a measure that hasn’t specifically been mentioned in plans for the UK’s voluntary scheme. This omission could limit the levy’s scope, although Katy Perry has announced that she will contribute during her upcoming UK tour.

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Support for the levy has come from major artists such as Coldplay and Sam Fender, who have pledged portions of their ticket revenues alongside Perry. Additionally, venue operators like ASM Global have collaborated with MVT on fan donation schemes. However, these schemes shift the financial burden onto audiences rather than the wider industry.  

In the last week, Ticketmaster also redirected funds donated from ticket buyers to grassroots venues. After matching each donation, Ticketmaster were able to donate £60,000. Speaking about this donation, Mark Davyd said: “We are very grateful to Ticketmaster and its customers for their support at a time when this type of initiative is very much needed.”

Light at the end of the tunnel for Grassroots Music Venues. People who say it can’t be done should get out of the way of people doing it. Read our statement in full: https://t.co/eqY1blNXBy More resources on this via: https://t.co/Q2lGy05wwp pic.twitter.com/TauMAkq9cm — Music Venue Trust (@musicvenuetrust) November 14, 2024

With a trial year slated for early 2025, there is pressure to act swiftly. Sir Chris Bryant has set ambitious goals for progress within the first quarter of the year, highlighting the urgency of the situation. The trial will include independent evaluation to determine its effectiveness and address any shortcomings.

One recurring concern is the lack of immediate relief for grassroots venues, which continue to face severe financial pressures. While the levy represents a potential long-term solution, stakeholders are urging interim measures to prevent further closures.

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Grassroots venues are vital cultural and economic assets, providing the pipeline of talent for the UK’s £6.7 billion live music industry. Their survival requires collaboration across the sector. The voluntary levy offers a chance to prove that industry-led initiatives can succeed—but only if all parties actively engage and commit to meaningful change. The government hasn’t ruled out making the levy mandatory, if required.

As the first quarter of 2025 approaches, the live music industry faces a pivotal moment. The voluntary levy has the potential to safeguard the UK’s grassroots music scene, but its success depends on swift, coordinated action.

This announcement comes as national efforts to support the UK music industry ramp up. Liverpool and Birmingham have both secured government funding to boost music-focused technology, while Spotify recently launched a grassroots funding initiative to help save fifteen small music spaces across the UK after partnering with Youth Music. With growing concerns about AI-generated music threatening artists’ livelihoods, Factory Sounds underscores the importance of investing in human creativity.  

STEAM Radio, part of the 2024 cohort earlier this year, exemplifies the programme’s impact. Based in Hulme, the community station launched during the COVID-19 lockdown and now hosts 80 presenters spanning diverse genres. STEAM provides a platform for emerging talent to established presenters, and everything in between, showcasing music from local artists to contributions from as far afield as Jakarta and Rio de Janeiro.

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Factory Sounds’ flexibility embraces both cutting-edge and traditional art forms. A 2022 recipient, Obeka, used the grant to create a soundscape album inspired by South American, African, and Caribbean influences. 2025’s programme will continue to champion diverse voices, supporting underrepresented artists, including those from the global majority, trans and non-binary creators, and those who identify as disabled or neurodivergent. 

Factory Sounds plays a key role in building upon Manchester’s storied artistic heritage. Named after the iconic Factory Records, the initiative also benefits from design input by Peter Saville, known for his iconic album covers, including Unknown Pleasures. Factory International’s mission is to fuel artistic ambition, offering space for innovation, collaboration, and experimentation in its home at Aviva Studios.

The Adidas Originals Creator Network North, another initiative under the Factory International umbrella, complements Factory Sounds by supporting young creatives across Manchester who are involved in visual arts. Participants receive mentorship from industry professionals, access to state-of-the-art equipment, and £600 bursaries. The six-month programme culminates in a collaborative showcase at Aviva Studios, offering participants real-world experience and a chance to build valuable industry connections.   

Aviva Studios itself is a landmark for the city’s cultural ambitions, supported by £7 million from Arts Council England and a £35 million sponsorship from Aviva Insurance. Over the next decade, it is expected to contribute over £1 billion to Manchester’s economy. It will host an exhibition of David Hockney’s work throughout December.

@factoryinternational Meet David Hockney – one of the most influential British artists of our time bringing his exhibition Bigger & Closer (not smaller & further away) to Aviva Studios Learn more abiut the legendary artist on Factory+ by clicking the link in our bio. #Art #ArtTok #EduTok #DavidHockney #LGBTQ #ImmersiveArt #ImmersiveExperience ♬ original sound – Factory International

Sam Malik, a 2022 grant recipient, summed up the programme’s value: “Receiving this support not only enabled my project but validated the need to support underrepresented musicians in Greater Manchester.” With this year’s expanded offering, Factory Sounds continues to reflect Manchester’s diverse population while paving the way for its artistic future.

The 2025 grants, open for applications until 20 January, invite written or video submissions. Applicants must outline their project plans, budget allocation, and previous work. Grants are available to a wide range of music professionals, from musicians and DJs to promoters and label owners. You can apply here.

Kiehl reports, “A decade which began with the pandemic, causing much devastation to the sector, has seen a resilient music industry emerge,” he says. “International appetite for UK music remains strong, with exports growing by 15% to £4.6 billion.” The news is good, considering the pandemic’s toll on every aspect of society. In the official report it was also said that for 2023, employment rates in music had a 3% increase on the previous year – that means more than 216,000 people were working in the music industry at the time of the report.

On Brexit and it’s impact on touring, the report says “For developing artists building their international profiles for the first time, the impacts of Brexit have been a catastrophe”. According to Complete Music Updates, some statistics on those impacted by Brexit include: 71% said they aren’t invited as often to perform in EU countries, 57% said that when they are invited to perform they reject simply because they cannot afford to go, with 41% saying touring the EU is no longer an option.

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This news comes after many reports concerning the struggles of the UK music industry from the issues facing grassroots music venues and nightclubs to the initiatives to entice the government into action to help. Earlier this year it was reported that 65 nightclubs had closed down since the start of 2024 and according to The Guardian, 125 grassroots venues shut across the UK last year and over 350 are at risk of the same fate.

Kiehl reiterates, “This is not a time to be complacent,” says Tom Kiehl. “This is Music 2024 tells the story, based on real evidence and data from across the sector, that despite some very strong headline figures in 2023, the UK music industry has vulnerabilities too.”

So at the top end of the UK music industry, there is immense growth, which the Culture Secretary, Lisa Nandy, has put down to “global superstars like Harry Styles and Adele, internationally-renowned festivals like Glastonbury and Parklife and a huge range of vibrant subcultures”. She also said that “the music industry is a real British success story [and] these impressive new figures underline how vitally important it is to driving growth – as it boosted its value to our economy by nearly a billion pounds in one year”.

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This is Music 2024 also includes a manifesto of four main aims, which according to the PRS for Music official Instagram are as follows:

1. Regulate AI to protect and promote human creativity.

2. Ensure every child and young person across the UK has access to free music making.

3. Cap secondary ticket resale prices.

4. Visa-free touring for musicians & crew.

However, the sheer amount of issues facing lesser known, or grassroots, festivals and venues is telling. There is still much to be done and hopefully with the help of schemes and the continual effort to gain public and Government support the situation will improve by the next This is Music report. The full report can be found here.

Fans can get exclusive first access to tickets by ordering the band’s new album Moon Music (released on 4th October 2024) from the official Coldplay UK or EU Stores before 11.59pm BST on Tuesday 24 September. All those who have already pre-ordered the album will automatically be eligible for the pre-sale, which will begin on Thursday 26 September at 9am BST. The general sale will take place at 9am BST on Friday 27 September.

Fifty percent of the tickets for the Hull shows – their first ever concerts in the city – will go to local fans (with HU, YO, DN or LN postcodes), via Ticketmaster on Thursday 26 September at 6pm BST.

AUGUST 2025

18 – Hull, Craven Park Stadium
19 – Hull, Craven Park Stadium

22 – London, Wembley Stadium
23 – London, Wembley Stadium
26 – London, Wembley Stadium
27 – London, Wembley Stadium
30 – London, Wembley Stadium
31 – London, Wembley Stadium

What stands out about this tour announcement is the promise Coldplay have made to donate 10% of the band’s proceeds from the Wembley and Hull shows to Music Venue Trust (MVT).

Considering that every week a grassroots venue closes its doors, this will help fund vital work MVT does to support grassroots UK venues and upcoming artists. In a similar vein, Enter Shikari donated £1 from every ticket they sold for their 7-date 2023 tour. Their donations went to Music Venue Trust’s Pipeline Investment Fund, which is their grassroots venue fund.

According to an interview with Mark Davyd, founder and CEO of Music Venue Trust, Coldplay were introduced to MVT through Save Our Scene – a campaign fundraiser for cultural charities – after they reached out to its founder, George Fleming “who very graciously in turn recommended speaking to the Music Venues Trust. By February 2024, it had been agreed that when they announced their 2025 shows, that they’d be making a contribution to the grassroots to support the venues, artists and promoters.”

Donations to the Music Venue Trust will also be made by concert promoters SJM Concerts, Metropolis Music and Live Nation; the band’s booking agent WME; the venues Wembley Stadium and Hull Craven Park; and the official ticket agents, Ticketmaster, See Tickets and AXS.

Additionally, in a world first for a stadium show, Coldplay have also pledged to power the Wembley concerts’ production with 100% solar, wind and kinetic energy.

Sourced from The Independent, in June, Coldplay revealed that their Music of the Spheres show had, at that point, produced 59 per cent less CO2e emissions than their previous stadium tour between 2016 to 2017. The band have also overseen the planting of nine million trees, with a further one million to be planted before the end of the year. Coldplay are expanding their sustainability efforts to their album by producing physical copies of Moon Music made from 100 per cent recycled plastic bottles.

Lastly, seemingly to counter the ticket rip seen recently around Oasis, Taylor Swift and Beyonce’s tours, a limited number of Infinity Tickets, priced at £20 per ticket, will be made available for the shows via Ticketmaster at 12pm GMT on Friday 22 November.

The festival typically features a variety of activities including music performances, food stalls, craft vendors, and family-friendly entertainment. The festival is organised to bring together local residents and visitors, celebrate community spirit, and raise funds for local causes or charities.

The festival, previously known as Witcombe Cider Festival, was first held in 2012 at Witcombe Cricket Club with only a small marque, a stage, and around 200 attendees, with X-Factor finalist Kitty Brucknell as the headliner.

Since then, Witcombe Festival has gained more acclaim as it was nominated for Best Small Festival Awards in 2022.

However, on Monday the 5th of August, the festival released an official statement on their website, stating the cost of living crisis as the main cause to their limited budget:

It is with great disappointment that we announce the cancellation of Witcombe Festival 2024. Today, we were supposed to get the keys to the fields from the farmer and begin building the festival for a celebration of music, dancing, and togetherness on the August Bank Holiday. Unfortunately, the ongoing cost of living crisis has significantly impacted our ticket sales and overall planning.

The Witcombe festival is not the only festival to suffer from the cost of living crisis. According to the Association of Independent Festivals, 53 festivals have had to postpone, cancel, or completely close in 2024. Since Covid began in 2019, the total number of UK festivals to have disappeared is 182.

In response to the rising number of cancellations, the Association of Independent Festivals (AIF) launched a new campaign asking for a temporary VAT reduction on festival tickets that would save many event promoters from closure.

The 5% for Festivals Campaign is an initiative that encourages people to donate 5% of their time, money, or resources to support local arts and culture festivals. This campaign aims to promote the sustainability and growth of festivals, which often rely heavily on community support and volunteerism.

The campaign also seeks to raise awareness among festival-goers about the challenges music festival promoters have encountered over the past five years. It encourages individuals to reach out to their MPs and advocate for a crucial reduction in VAT on tickets.

AIF CEO John Rostron said:

This is a regrettable landmark for the UK’s festival sector. This is the most challenging time for independent festivals who desperately need an intervention from the incoming government before more events inevitably fall.

The full list of festivals lost in 2024 can be found here.

Despite the cancellation, the festival remains “committed to returning with a more spectacular event.”

This year it will be headlined by the Hull dream pop band BDRMM, with the lineup including other independent artists like indie rock band Fever, ska punk and hip hop fusion group Counting Coins, among many others.

The festival was founded out of Hull’s rich music scene and was developed from a weekly music night at the Linnet and Lark pub in West Hull. According to the BBC, the festival director, Mark Page, attributes the success of the festival to Hull’s vibrant music scene which has helped the festival’s meteoric rise in popularity. He stated:

When we first started we thought maybe 1,000 people would attend, so we were pleasantly surprised when 10,000 turned up. The second year, we had 40,000, so we put a cap on it [the size of the crowd].

Due to developments within the area, limits have been placed on the number of people able to attend the festival, but Page notes that it remains well supported.

The festival will take place on Saturday the 3^rd of August at the Hull Marina from midday to 11pm, with around 18,000 music fans attending. Tickets cost £20 plus a £2 handling fee and are available for purchase from in-person select retailers, the locations of which can be found online.

Alongside the wide range of independent artists, the festival also boasts a variety of street food options. These include food trucks serving artisan coffee, Greek street food, and Punjabi street food, to name just a few.

The festival also offers various arts and activities to bring fun and captivating entertainment to the festival goers, all thanks to their sponsors J’ONeill & Co Ltd, Hull Business Angels, and Hull City Wide Partnership. The entertainment includes flash mobs, graffiti artists, and puppet hand parades.

Hull Trains is also sponsoring the festival for the 5th time, providing free travel for ticket holders between Doncaster and Hull. To access the free travel, festival goers must show their wrist bands to on-board transport staff.

Lou Mendham, the service delivery director of Hull Trains, explained the motive for offering their services free of charge, aside from supporting the local community. She said:

Our offer of free travel for those heading to the festival is our way of supporting the team in making it an even greener event.

Both Hull Trains and the Humber Street Sesh are part of the Oh Yes! Net Zero campaign which aims to reduce carbon emissions in local areas. In addition to cleaner transport links, this also includes the use of solar powered stages, environmentally-conscious waste disposal, and powering all stages, bars, and lighting with renewable green fuel (HVO).

Showcasing so many performing artists and food and entertainment options, coupled with an environmentally-conscious ethos, gives the festival a sense of exciting longevity as it runs for the 14th year.

Established in 2019, Doonhame is still in its infancy after being put on hold for two years due to the COVID:19 pandemic. Rain did not appear to stop the festival-goers last July as they reveled in all that the four stages, the main arena and the beautiful grounds of the estate had to offer. The weekend was complete with a more relaxed, family-orientated Sunday, with youngsters enjoying activities, music and live performances from Taylor Swift and Ariana Grande tribute acts.

Despite having a successful run in 2022 and 2023, like many grassroot venues, festivals and events in the music industry, it too has fallen victim to spiralling costs. Co-director Sandy Sweetman said that although the previous years were a triumph, it had sadly become too much of a strain to balance ticket prices with the financial upkeep of hosting the festival. Mr. Sweetman said in a statement: “2023 was a hugely positive experience for us with the festival taking shape and finding its format, however balancing ticket price with the rising costs of putting a festival together and looking at our own limited availability to dedicate the necessary time to the project sadly makes it unsustainable.

“Mark and myself cannot be more grateful to all the people who supported us throughout this journey, from the dedicated team who put so much time and energy into helping us throughout the last five years, the Crichton for accommodating us, sponsors and everyone who committed by buying tickets.”

Fans of the festival have expressed their disappointment on social media but hope to see Doonhame up and running again in the near future, with one user commenting: “Sorry to hear this news, a sad loss for the region. It’s a huge task and financial commitment to organise a music festival. Sandy & Co can hold their heads high for all their efforts.”

Another user added: “So sad to hear this news but totally understand your reasons. Thanks for the great memories…I had an absolute blast at every Doonhame Festival I attended. All the best to everyone in the team.”