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

In a statement posted on X/Twitter, Moss explained that the costs of putting on the tour had become unmanageable. “The spiralling cost of putting these dates on, combined with poor ticket sales has forced me to reconsider the viability of continuing with the shows,” she wrote, going on to cite a combination of low ticket uptake and soaring logistical expenses as obstacles facing the tour.

Moss’s post conveyed the financial reality many smaller and independent artists face. Despite her willingness to take on personal debt, the situation became unsustainable: “The short tour was always going to leave me with a considerable debt…I expected and was prepared for [it] by forecasting a small upward trajectory in shows and venue size next year.” But with poor ticket sales and rising costs, Moss found herself unable to justify pushing forward, noting that the financial risk was no longer a viable option.

Cancellation of live dates. pic.twitter.com/ujm6h10tSK

— ʟɪᴇʟᴀ ᴍᴏss (@LielaMoss) October 7, 2024

“I am now forced to make the very difficult decision to cancel,” Moss continued, though she also made clear that the promoters and venue owners had been supportive throughout her solo endeavours. Moss’s cancellation reflects a wider trend in the industry, where musicians are increasingly struggling with the costs of touring. “The live scene as it stands right now is suffering from low ticket uptake among the smaller artists and bands,” she added. 

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A post shared by ↤↤↤↤↤ Liela Moss ↦↦↦↦↦ (@lielamoss)

“I understand that money is tight for everyone, and there are a lot of other great bands and musicians touring right now. Somewhere down the chain someone takes a hit…I think this year, that is me, sadly,” she admitted. The financial pressures she described mirror those voiced by other artists recently, such as Michael Kiwanuka and Rachel Chinouriri, who have also spoken out about the unsustainable costs of touring in the current climate, and in Chinouriri’s case, even cancelled shows. Moss also joins a growing list of artists, including The Armed and Blur, who have spoken out about the financial challenges of touring.

Moss’s latest album, Transparent Eyeball, is scheduled for release soon, following up on last year’s Internal Working Model. The upcoming album includes the single “Dark Kitchens,” a sharp critique of modern consumer culture. “It’s all about the gratification, the convenience. Feed the hangover,” Moss said of the track in a recent interview, hinting at the album’s wider themes of modern alienation. Other tracks such as “Prism,” “Reward,” and “Conditional Love” promise an incisive and  hard-hitting project, but one that fans will have to wait longer to hear live.

Oasis, one of the most successful British bands of all time, performed at Moles early in their career, and the venue is often credited as being instrumental in their rise to fame. Similarly, Ed Sheeran, who has become a global superstar, also graced the stage at Moles in his early days.

 Oasis                                                                                                      Ed Sheeran

The impact of Moles extends beyond just launching successful acts. Manic Street Preachers, a Welsh rock band, secured a record deal after their performance at the venue. Supergrass, another popular British band, even used Moles’ dressing room for the cover shoot of their debut album, highlighting the venue’s significance in the music industry.

Manic Street Preachers                                                                 Supergrass

The closure of Moles is a devastating blow to the local music community. The owners’ decision to file for insolvency reflects the harsh reality of the financial challenges faced by grassroots venues. The rising cost of living and increasing bills have made it increasingly difficult for small venues like Moles to stay afloat.

Co-owner Tom Maddicot’s statement about the economic viability of grassroots live music is a sobering reminder of the challenges faced by these venues. Without adequate support and a sustainable financial model, more small venues may face a similar fate. Tom said “Making the decision to close Moles was horrendous, but the reality is that live music at grassroots level is no longer economically viable.”

Moles’ rich history and contribution to the music scene in Bath cannot be understated. From hosting early performances by iconic bands like Blur, The Cure, and The Smiths, to providing a platform for up-and-coming artists, the venue has left an indelible mark on the industry.

As the doors of Moles close for the final time, the music community mourns the loss of a beloved institution. The memories and impact of this iconic venue will live on, but its closure serves as a stark reminder of the challenges faced by grassroots music venues in an increasingly challenging economic climate.

Recently, Moles hosted Slowthai, and the fast-rising indie band The Last Dinner Party. Unfortunately, the closure of Moles adds to the growing number of losses in the UK’s live music circuit.

Mark Davyd, the CEO of the Music Venue Trust, believes that the closure of Moles reflects a larger failure by the music industry and the government to invest in venues that support emerging artists.  The Music Venue Trust is looking to France as an example, where the government has implemented a ticket levy on arena shows to provide financial support to smaller venues and up-and-coming artists. Davyd has reached out to the UK government and opposition parties, urging them to take action and support the grassroots live sector. He said “Unless it gets serious about its responsibilities to encourage, nurture and develop the grassroots live sector, the music industry as a whole will face a catastrophic failure of artist development,”

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A post shared by A Greener Festival (@agreenerfestival)

Kilimanjaro and Action! Promoter Alan Day has provided a statement concerning the group’s successful tour, “Bring Me The Horizon were the first band in the UK, possibly the world, to complete a full non-rescheduled arena tour after the height of the pandemic. Their vision from the start was to produce the tour as environmentally friendly as possible, whilst still giving the audience the best spectacle achievable. From savings in plastic waste, to transport, to accommodation, to stage production and more, I am proud to have produced such a landmark tour and hopefully an example for the future.”

During the 2021 tour, the band reduced their touring emissions by 38% and cut 27.97 tonnes of CO2e. The British rockers also implemented plans to ban plastic bottles, this meant that a total of 3,322 plastic bottles weren’t used. According to the report published by the non-profit organisation, the band’s dedication to an eco-friendly tour also extended to travel plans. Instead of using traditional trucking fuel, the Sheffield formed group opted to use HVO Renewable Diesel. The fossil-free source is one of the cleanest fuels available and is a safer renewable diesel which has proven to eliminate 90% of CO2 and also aids to reduce nitrogen oxide and carbon monoxide emissions. A Greener Festival also took to Twitter to confirm the group’s impressive percentage of reduced emissions.

Bring Me The Horizon @bmthofficial have shown what is possible and how we can change things for the better. According to a report put together by A Greener Festival @agreenerfest, the band reduced their total emissions by an incredible 38%. @rocksound #bmth #bringmethehorizon pic.twitter.com/uOsZbCnCHw

— IDIOTEQ.com (@IDIOTEQ) February 21, 2022

Along with the band’s contribution, changes and assistance were also supplied by Raw Power Management, United Talent Agency and promotion company Kilimanjaro and London’s The O2. The three companies and live venue all shared the occurred costs associated with a tour impact audit and sustainability implementation advice. A spokesman from Raw Power Management, Matt Ash has given the following comment concerning the tour, “Working with an artist in BMTH and a tour production team that was fully behind the approach to sustainable touring was something that we absolutely endorsed and are keen to implement on all future touring whenever possible.”

Claire O’Neill, CEO of A Greener Festival has also given the following statement concerning the actions taken to include sustainability and eco-friendly changes within the live music and event industry, “During the pandemic, the touring music industry came together on the important topic of sustainability. We’re so happy with the results from walking the talk with the first UK arena tour off the mark. The report shows a direct link between well-being, stress, and environmental sustainability. Culture change and industry restructuring is essential to achieve a green future for artist touring. There is much still to be done, but these results are undeniable evidence that we can take huge strides to reduce emissions and protect ecosystems immediately. There’s no excuse to delay.”

Click here to request the report by A Greener Festival

YEAR-END SPECIAL: Congratulations to all of the Venues that appeared on the 2021 Top Worldwide Arena Chart!

#1 @BrdgstoneArena
#2 @TheGarden
#3 @TheForum
#4 @StateFarmArena
#5 #MGMGrandGarden
#6 @Golden1Center
#7 @cryptocomarena
#8 @ToyotaCenter
#9 @AACenter
#10 @MoSunArenaPA pic.twitter.com/1bu6qYf9sQ

— Pollstar (@Pollstar) December 13, 2021

The hitmakers climbed to the top of the list with their No Filter Tour, which was rescheduled to end this year due to COVID. Although the band only played a dozen dates from their tour, the group earned an impressive £87 million from the stadium shows. The tour was the first run of live shows which the group played since the tragic passing of drummer Charlie Watts.

The rockers’ recent tour has been heralded not just for its financial success but for its positive influence within the music industry. President and co-CEO of Concerts West, John Meglen has provided the following statement concerning the tour, “It’s a testament to all of the people who were out on the road and on our team, You have to give every single person out there credit for a ton of buckling down and saying, ‘Let’s go out and get this thing done,’ because we all wanted to get it done. We didn’t want to lose a show. And we’re watching all the others out there and going, ‘Man, they’re not taking it serious enough.”

Meglen also stated that the tour’s successes lay in adherence to the COVID guidelines, “We had a very, very strict bubble, both for the entourage and the same with Opie (veteran tour production director Dale “Opie” Skjerseth) on the production crew, When we moved into St. Louis for the first show (the run debuted on Sept. 26 at The Dome), we really got into all of the daily or every-other-day testing.” The tour required all crew members to be vaccinated and tested regularly, the team also adhered to strict rulings which included no unpermitted persons allowed backstage and dressing rooms to be fully sanitized. Meglen continued to add, “We had to be very, very strict, At the show in L.A., my wife was up in the suite, but I couldn’t go up and see her.”

Former One Direction band member Harry Styles placed at number two within the list, the “Watermelon Sugar” singer earned £65.5 million from his Love On Tour concert series. Much like The Rolling Stones’ No Filter tour, Styles had to postpone the tour twice due to social restrictions placed to manage COVID. Styles embarked on his second concert tour in support of his second solo album Fine Line. The British artist made £6.1 million alone from his three nights at New York’s Madison Square Garden. With over 669,051 tickets sold, Styles has become the highest ticket selling artist of 2021.

The Hella Mega Tour has landed in third place, the concert series featured a trio of iconic bands and earned £50.8 million. The tour featured Green Day, Fall Out Boy and Weezer and is set to embark on its European and UK leg in 2022. The Eagles came in fourth place within the list, the group’s live shows brought in £44.7 million. The top five was concluded by Dead & Company, the supergroup made up of former Grateful Dead band members generated £37.9 million from live shows in 2021.

The festival has announced that Pearl Jam, Imagine Dragons, A$AP Rocky and David Guetta will headline the 2022 event. The festival will be held on 16th-17th July 2022 at Hippodrome De Longchamp.

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A post shared by Lollapalooza Paris (@lollapaloozafr)

The festival’s fourth event in Paris boasts a line-up of over 50 further acts, all of which will perform across the festival’s four stages. Festival goers will also be able to take advantage of the French cuisine on offer, art exhibitions and an area in which provides education on how best to help the world. Other acts billed to play include Megan Thee Stallion, Jack Harlow, Anitta, Illenium, Turnstile, Phoebe Bridgers and Eurovision champions Måneskin. Ticketholders will be able to see headliners Imagine Dragons and famed DJ David Guetta on the festival’s first day, 16th July 2022. The second and final day includes headliners A$AP Rocky and rock icons Pearl Jam.

Lollapalooza was founded by Perry Farrell in 1991 and initially entertained the public as a touring festival. The festival has remained a staple in any music fan’s calendar and has led the way in live entertainment for over 30 years. The festival has now branched out all over the world and in 2005 made its home in Chicago. The recent expansion joins the long list of cities that host the annual event including Chile, Argentina, Germany, Brazil, France and Sweden.

The global festival is regarded a trailblazer within the live music and festival event fields. It was the first festival to intertwine musical genres in their lineups, include multiple dates, have a second stage and showcase electronic music acts on the main stage. Lollapalooza is considered a forerunner for holding festivals in cities and has spearheaded the city experience with locations across the globe. Outside of music, the festival has also made its mark on challenging the big issues. Lollapalooza was the first festival to combine the arts with activism and to counterbalance its carbon omissions.

The festival’s dedication to the planet is clearly evident and next year is no different. The festival’s website provides further information concerning their initiative, Lollaplanet. “At the heart of Lolla Paris’ commitment since day one, Lolla Planète is committed to the planet … and its inhabitants: alongside associations which each year raise awareness among festival-goers about sustainability and environmental issues, Lolla Planète will give a voice to those who fight for the rights of everyone. So you will find throughout the year a special program developed in collaboration with Label Emmaüs, a key player in the ecological and inclusive digital transition. Among the various activities of Lolla Planète to inform and learn in an interactive way, we will find in particular times of exchanges and workshops with Morgane Ortin, author and creator of Amours Solitaires who acts alongside the association En Avant All.”

The Paris festival is produced by founder Perry Farrell, William Morris Endeavor Entertainment, Live Nation France and C3 Presents. This year the event would have celebrated its 30th anniversary. However, due to COVID-19 restrictions, the festival was postponed until next year.

Click here to purchase tickets.

The 72-year-old percussionist has named his new label ‘Nice Records’, the label is set to issue unreleased recordings and tracks that span throughout his long and respected career. Jones’ indie label will launch with the release of live recordings from his time in Small Faces taken from the drummer’s personal archive collection, entitled ‘Small Faces- Live 1966’, the launch and release will be on 3rd September 2021. The label’s first release features the band’s earliest recorded live performance from 9th January 1966 and includes two sets played at the Twenty Club located in Mouscron, Belgium. Jones is best known as the drummer for three of the 1960s most influential mod and rock bands, Small Faces, The Faces and the ‘My Generation’ rockers The Who.

The mod icon issued the following statement concerning his new business venture and describes the label’s mission to celebrate his musical legacy. “It’s great to launch Nice Records and to be able to take back control of the Small Faces products and recordings. I have assembled a first class team who understand the importance of the Small Faces legacy. I am so pleased there is a record of us performing at this time. We were a great live act then and even though we started to have hits, our live act was never the same again. This gig is really what the Small Faces were all about.”

Rob Caiger, Small Faces archivist and producer of reissues has also spoken on Kennedy’s new label and discusses how Nice Records will be a positive factor within the music industry. “Kenney has set up Nice Records to ensure the artists – and their dependents – get paid for their recordings as opposed to the many companies that have sprung up recently to exploit the ‘use it or lose it’ EU ruling for previously unreleased material over 50 years that is now deemed to be in the public domain. He is following Frank Zappa’s brilliant initiative, taken on by bands such as the Stones, to beat the bootleggers and give control back to the musicians. In this case, we think Kenney is the first artist to exploit the current EU ruling for the benefit of the artists.”

Caiger continues to describe the laws concerning the release of archived music and further confirms not just the importance of the archived and historic recordings but also the significant role in which Kennedy has played to ensure the safety of such recordings. “We want to do this properly. There is still previously unreleased material locked away in archives because record companies can’t – or won’t – release it, as well as material that labels lost or never got from the artist in the first place. In Kenney’s case, he has been diligently looking after session and live tapes he has played on from the Small Faces onwards. As some will know, as well as his work with the Small Faces, Faces and The Who, Kenney played on countless sessions by other artists (particularly during his time recording at Olympic Studios in London). Kenney usually got a copy of the tape and in many cases, he was the source for the only surviving copy of the masters, as he was whenwe put together the Small Faces remaster series.”

Click here to pre-order ‘Small Faces – Live 1966’.

In the report, they predict that live music revenue will grow at an annual rate of 17 percent over the next four years in the UK. Revenue fell to £225million in 2020 and is expected to reach £846million by the end of this year. Before the virus hit live music revenue was worth £1.58bn. By 2025, the UK’s live music revenue is forecast to be worth £1.56 billion almost as much as the aforementioned year.

This clearly showcases the massive effect that COVID has had on the music industry. Many artists rely quite heavily on the income they make from live music. The fact that it will take almost four years to reach the same revenue levels as a couple of years ago shows the full extent of the damage caused by the pandemic on the music industry. There has been much grievance towards the government for their handling of the arts and live music claiming that the government was “pushing live music off a cliff-edge”.

The UK head of Entertainment and Media at PwC, Mark Maitland stated that “UK consumers’ rapid migration to digital behaviours in the pandemic has now become embedded in their day-to-day lives, helping to sustain overall growth across Entertainment and Media for the coming five years. As companies race to meet consumers’ evolving needs with new products, services and experiences, the E&M industry will become more pervasive, more immersive and more diverse.

“Some sectors have found interesting ways to navigate the effects of the pandemic – notable examples include B2B events moving to online/virtual and now increasingly hybrid formats. However, sectors such as live music have struggled to go virtual, as it’s so difficult to replicate the in-person experience online. So there’s pent-up demand in those sectors ready to be released as lockdown ends.”

On Monday, July 19 live music is set to return to England without restrictions following the government’s decision to push on with their plans to lift the majority of coronavirus-enforced rules in the country. However, in Scotland, Wales and Northern Ireland live event restrictions are still set to continue.

Boris Johnson also urged nightclubs and large events to employ checks for ‘COVID passports’ when restrictions in England are lifted next week.

Photo Credit: Raymond Flotat

It has been predicted that 26,000 permanent roles in live music will be lost by Christmas, along with 140,000 FTE roles, including self-employed and freelance workers. The live music industry is said to have lost 81% of its income since most live shows have been detrimentally impacted by the government restrictions, this is four times the national UK average. It is surprising to see how much the music industry is slipping through the cracks, considering in 2019, the live music industry contributed £4.5 billion to the UK economy.

170,000 jobs in UK live music industry to be lost before end of 2020, study finds. pic.twitter.com/UhMg54Krmv

— Listen Radios (@RadiosListen) October 21, 2020

There is a callout for a potential tailor-made support package for the music industry. Musicians and crew members want a ‘Seat Out To Help Out’ scheme, a version of the government’s ‘Eat Out To Help Out’ scheme which aimed at helping restaurants survive the pandemic. The ‘Seat Out To Help Out’ scheme would help put on socially-distanced gigs with some kind of sector specific financial help for the self-employed workforce.

“We were one of the first sectors to close and we will be one of the last to reopen,” said Phil Bowdery, Chair, Concert Promoters Association. “We are currently caught in a catch-22 where we are unable to operate due to Government restrictions but are excluded from the Extended Job Support Scheme as the furlough comes to an end. If businesses can’t access that support soon then the majority of our specialist, highly trained workforce will be gone.”

This research has been done by LIVE, an organisation which represents the live music industry. LIVE members include the Entertainment Agents’ Association, the Association for Electronic Music (AFEM), the Association of Festival Organisers (AFO), the Association of Independent Festivals (AIF), the Concert Promoters Association (CPA), the Music Managers Forum (MMF), the National Arenas Association (NAA), the Production Services Association (PSA) and the Music Venue Trust (MVT).

You can support the people who work in the live music industry by donating to Stagehand here, you can also sign this petition that is demanding the government to do more for every member of the live music industry.