Grass roots, yeah, so what?
I, like many of us, started out in the small gritty performing venues spread across the UK. Some call them the ‘toilet circuit’ but that’s not really doing them the justice they deserve as cultural hives of creativity and opportunity. If we are to deem them toilet-like, then anything is possible in a toilet! Community, hope, creativity and music!
The raw energy, the intimacy, the connection between artist and audience—it’s something big arenas and glossy stadiums just can’t replicate. UK independent music venues are vital, not just for fans and communities, but for the music industry as a whole. However, there’s a big shadow looming over them... see last week’s post.
It always surprises me how the UK has an unrivalled reputation for producing world-class musicians, yet the independent venues (where it all begins) are still struggling. Surely without the feeding pools, we have nothing? These small, gritty spaces are the testing grounds for future superstars. So many big groups or solo artists honed their craft in small venues before hitting the big time.
Independent venues are more than just stepping stones for big names—they’re cultural lifelines for local communities. They bring people together, foster creativity, and support diversity in music. Unlike the big corporations, indie venues take risks. They’ll book the weird, wonderful, and genre-defying acts you won’t find on the main stages of festivals. They champion local talent and give a platform to underrepresented voices. Beyond the music, these venues are also economic engines for their towns and cities. They create jobs for local people, support other businesses and help shape the cultural identity of their communities.
The Live Nation Problem
While independent venues work hard to keep the grassroots music scene alive, Live Nation is slowly tightening its grip on the industry. For those who don’t know, Live Nation is the world’s largest concert promoter and ticketing company (they own Ticketmaster). They control a massive chunk of the live music ecosystem, from venue ownership to festival promotion to ticket sales. The problem? Live Nation’s dominance could squeeze out smaller venues and independent promoters. Their model seems to revolve around monopolising the industry - offering artists exclusive contracts, locking in their own venues, and bundling ticketing deals through Ticketmaster. For big-name artists, Live Nation offers convenience and massive marketing power. But what about everyone else? Does it create barriers?
For example, many artists who play Live Nation venues are locked into contracts that stop them from performing at smaller indie venues in the same city. This 'radius clause' is disastrous for the grassroots scene. Indie venues miss out on booking mid-level and rising artists who could help sustain their business (read the review here). The gigantic growth and monopolisation also impacts the fans with higher and higher ticket prices as this BBC report on shows.
The future of live music depends on the survival of independent venues. These spaces are the breeding grounds for new talent and the lifeblood of the UK music scene. Without them, we’d lose the diversity, innovation, and authenticity that make our music culture so special.
Live Nation’s dominance risks turning the live music industry into a soulless monopoly. When one company controls the artists, the venues, and the ticketing, it leaves no room for the little people. Independent venues aren’t just competing against other venues - they’re competing against an entire corporate machine. This is something I see increasingly mirrored (worryingly) in the musician’s mental health field in the UK. Tread carefully out there! (Looking for a therapist... go to BAPAM’s list.)
What Can We Do?
The good news is, we can fight back. Campaigns like ‘SaveOurScene’ by the Music Venue Trust have been instrumental in raising awareness and protecting at-risk spaces. Fans can make a difference by supporting local gigs, spreading the word about indie venues, and choosing not to buy into overpriced corporate events whenever possible. Live music should be about connection, creativity, and community - not just corporate profits. Let’s make sure independent venues stay at the heart of UK music culture. There is room for the big and the small organic guns so let’s not allow the small gritty scenes dry up. Let’s not even talk about Spotify...
Don’t forget over at Tonic we are offering peer groups for anyone struggling alongside bespoke groups offered for fantastic organisations such as The Music Venue Trust and the Association of Independent Festivals and many more.
Adam Ficek hosts a monthly show 'Tonic Music' on Totally Wired Radio, where he talks to various guests about music and mental health. You can listen again to any of the previous show on the Tonic Music Mixcloud page.
