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Live Music

UK Live Music: Record-Breaking Economic Boom or Industry in Crisis?

Posted on 27 October 2024

The live music sector in the UK is undoubtedly a powerhouse, with major contributions to the nation’s economy. According to a recent report by CGA Strategy, the sector hit a record high in 2023, boasting a £6.1 billion economic impact. However, a contrasting narrative emerges in the BBC’s report on ongoing struggles within the live music industry, highlighting challenges such as rising ticket prices, cancellations, and the battle to recover from the pandemic’s aftermath. Both reports offer important insights but present divergent viewpoints on the current state of the live music sector.

This blog will critically analyse the disparity between these two perspectives, highlighting the underlying complexities and the nuances that are often overlooked. By exploring the economic impact, the public’s perception of live music, the challenges for artists and venues, and the industry’s future, we can begin to understand why these reports seem at odds and what they suggest about the sector’s broader dynamics.

Record Economic Impact: A Strong Foundation or an Overstated Success?

The CGA Strategy article paints an optimistic picture of the UK’s live music industry. Its headline figure of £6.1 billion is undoubtedly impressive, with the report pointing to a “surge in consumer demand” and a significant increase in attendance at live events. Notably, the report credits festivals and large-scale concerts for contributing the lion’s share of this economic activity, suggesting that, at least on paper, the sector is thriving.

However, while the numbers may appear to reflect robust health, the CGA report doesn’t necessarily tell the full story. The figure is a testament to the economic power of the sector, but it arguably glosses over the granular details that have been deeply felt by smaller venues, independent artists, and local communities. The economic impact reported may primarily benefit larger stakeholders—such as major festivals, concert promoters, and established artists—while smaller players continue to struggle in a highly competitive and financially fraught environment.

The phrase “economic impact” can also be somewhat misleading. While it suggests growth and profitability, it doesn’t necessarily mean the wealth generated is being distributed evenly or that all sectors of the industry are experiencing the same boom. Moreover, the report doesn’t account for inflationary pressures or the rising costs that many industry professionals face, leading to questions about whether this £6.1 billion figure is as impactful as it seems.

The Ongoing Struggles: A Closer Look at the BBC Report

In contrast, the BBC’s report presents a more sobering view of the live music scene in the UK. While acknowledging the increasing demand for live music experiences, the article highlights a range of ongoing issues that are affecting the sector’s recovery from the pandemic.

Rising ticket prices, coupled with the cost-of-living crisis, have led to growing concerns among both fans and industry professionals. The impact on independent venues and smaller events is particularly pronounced, with many facing financial difficulty as they grapple with higher operational costs, fewer bookings, and cancellations.

The BBC article sheds light on the human cost of these challenges. Artists and promoters have expressed frustration at the widening gap between the excitement for live events and the practical realities of making them financially viable. This contrasts sharply with the CGA Strategy report’s focus on the economic benefits, suggesting that while live music may be in demand, the infrastructure supporting it is still struggling to recover fully. The BBC article also highlights the increase in no-shows at concerts, with fans purchasing tickets but failing to attend, leaving venues with empty seats and a loss of potential revenue. This paints a far less rosy picture than the CGA’s celebratory figures would suggest.

In this context, the success of large-scale events like festivals and arena tours, which are credited for much of the economic impact, may come at the expense of smaller venues and independent artists. These struggles aren’t reflected in the overall economic impact figure, which raises important questions about which parts of the sector are truly thriving and which are being left behind.

The Disparity Between Large and Small Players

One of the most striking aspects of these two reports is the clear divide between large-scale and small-scale players in the industry. The CGA report’s emphasis on major festivals and large concerts speaks to a segment of the industry that has benefitted significantly from the post-pandemic recovery. These events often have the backing of major promoters, significant sponsorships, and the ability to charge high ticket prices, which insulates them from some of the financial difficulties faced by smaller, independent events.

On the other hand, the BBC report paints a picture of smaller venues and artists struggling to stay afloat. Many of these venues rely on grassroots support and local communities, which have been hit hard by the cost-of-living crisis. Rising energy costs, rent, and operational expenses make it increasingly difficult for smaller venues to turn a profit, while independent artists face a challenging landscape where gig fees often fail to cover their costs. The stark contrast between these two sectors raises questions about whether the live music industry is becoming increasingly bifurcated, with large players thriving at the expense of smaller ones.

The BBC article also touches on another growing issue: the over-saturation of the market. As more artists vie for limited gig opportunities, particularly in the wake of the pandemic, many are finding it harder to secure bookings, leading to increased competition and lower fees. This, in turn, impacts the profitability of venues, which may struggle to attract the same level of attendance as larger events. These challenges contribute to a sense of disparity within the industry, which is not adequately addressed by the CGA’s headline figures.

Recovery or Fragility: What Does the Future Hold for the UK’s Live Music Sector?

Both reports indicate that the live music sector is undergoing significant changes, but they diverge on the broader implications of these shifts. The CGA Strategy report presents a picture of recovery and growth, driven by strong consumer demand and high levels of engagement with live events. This optimism is not unwarranted, especially given the pent-up demand following years of lockdowns and restrictions. The success of major festivals like Glastonbury and Reading, alongside the return of international tours, has undoubtedly contributed to the sector’s recovery.

However, the BBC article offers a more nuanced and cautious outlook, highlighting the fragility that still exists within the industry. Smaller venues and independent promoters remain vulnerable, and the ongoing financial pressures could lead to further closures and cancellations if these challenges aren’t addressed. While the economic impact of the live music sector may be at a record high, the sector’s foundation appears to be built on shaky ground.

The disparity between these two reports points to a broader issue within the live music industry: the sector is far from a monolith. While large-scale events may be thriving, the smaller, independent players that form the backbone of the industry are still struggling to find their footing. The future of the live music sector will likely depend on how these challenges are addressed and whether the industry’s recovery can be made more equitable.

Article by Amelia Vandergast

Going Solo: How to Get Over Your Going to a Gig Alone Anxiety

Posted on 5 November 2023

Inspired by a recent anonymous Tweet by Fesshole, which tragically read, “Dated a girl once just so I didn’t have to go and see Radiohead on my own. The sex was crap, but the gig was outstanding”, I saw the necessity in drafting a going to a gig solo guide to quash anxiety, normalising the experience and reminding music fans that in 2017 DICE found that over half of 18 – 24 year olds in the UK had gone to a gig alone in the last 12 months. But that is far from the only promising statistic; 98% of the respondents in a survey said they’d do it again, and almost as many said that the music sounded better when they weren’t mindful of what other people were making of the performance!

This is far from the only going to a gig solo guide you will find online, but I can promise that I won’t spin as much hyperbole as The Metro when they posted an article with the headline, “I went to a gig by myself it was the best night of my life”.

Because the truth is, not every gig you attend alone will be a life-affirming experience that transcends all others, and you will be reminiscing on them for decades to come. Managing expectations is key. And let’s face it; there are pros and cons to both going to a gig solo and going with others.

And sometimes, it doesn’t matter if you’ve got a +1, +10 or you’re heading through the venue doors alone because external factors can easily come into play. Such as when I headed to Echo and the Bunnymen’s 40th Anniversary show at the Albert Hall in 2022 and Ian McCulloch was in a palpable mood to the extent it was apparent he was only there to cash cheques and call his drummer a cunt. Or when I saw Arab Strap and the softly-versed vocals were barely audible above overzealous fans who were screaming the name of the guitarist without a modicum of respect for the rest of the crowd who were trying to tune into the band they’d paid good money for.

My point is that gigs are only as good as the sound, the crowd, and the attitude of the performers. Who you’re with, is only one small part of the equation. So, before I digress any further and put you off the idea of going to ANY gigs, with my years of experience attending gigs alone as a woman, an introvert, and someone who is no stranger to social anxiety, I will cover the obvious, and less obvious benefits of heading to a gig alone and outline a few tips on how to endure your first time.

Benefits of Going to a Gig Alone

Hitting up a gig solo might seem a bit daunting, especially if you have a proclivity towards co-dependency and typically hate to do anything alone, but by buying a single ticket and venturing to a gig on your own, you’re signing up for an escapade that’s all yours, and reclaiming some sense of independence, which will probably do you favours in other areas of your life. Even if you pride yourself on being popular, there’s still no guarantee that your friends will love every artist on your playlists, and honestly, wouldn’t it be better to keep your dignity and not have to sell your soul to get someone else on board?

Then there’s the freedom. Want to bounce to the front and get lost in the music so much that you’re oblivious to the rest of the crowd? Do it. Fancy hanging back and soaking up the vibe? That’s cool too. There’s no stress about whether the group is enjoying it or if you’re all sticking together.

It is always worth remembering that just because you entered the venue alone, that doesn’t always mean that you won’t get to take advantage of the way music brings people together. If you have only ever attended gigs with other people, you’d be forgiven for thinking that there isn’t much mixing once you’re inside. But when you’re flying solo, you’re more approachable, and it’s easy to strike up a conversation given that you have something VERY OBVIOUS in common.

And let’s not forget one of the most obvious benefits. If you refuse to go to a gig solo but don’t have someone to rope into the night out, you’ll miss out. Put your pride aside and grab yourself a ticket. You’ll do yourself a favour, and be supporting live music at a time when so many shows are getting pulled due to poor ticket sales.

How to Make the Most Out of Your First Solo Gig Experience

After you have dipped your toes in the solo gig water, you’ll wonder why it took you so long to embark on the rite of passage, until then, here is what you can do to feel prepared for your first gig alone.

Research the Venue – if you have never been to the venue before and you don’t want to look clueless as you get your bearings, get the lay of the land beforehand.
Arrive on Your Own Schedule – arriving early has its benefits, but if you only want to see the headliner and it makes you feel better about going solo, do your own thing (sorry support bands!).
Hit the Bar, But Don’t Drink It Dry – getting wasted may seem a great way to get over the perceived awkwardness you are inflicting on yourself, but it is only going to sour the experience. If you drink, keep it to a minimum, if you’re tee-total, you can still make a B-line for the bar or break up your time spent staring at the stage by hitting the merch stall or going for a breather in the smoking area.
Remember, No One Cares – No one goes to a gig to pity or mock people on their own. If they do notice, they’re more likely to chat with you than ridicule you.
Occupy Yourself by Documenting the Experience – don’t just be a passive witness to the experience. Hone your gig photography skills or think about how you can bring other people into the experience by posting about it on Twitter, Facebook, or Instagram.
Make a Post-Gig Plan – Getting home safely should be your priority; once that basis is covered, you can always round off the night by ending it on a natural note by grabbing something to eat – go all out on your solo date!
Enjoy the Freedom: Bask in the ability to move through the crowd as you please. Edge closer to the stage or find a chill spot to take it all in — no negotiations needed.

Article by Amelia Vandergast

Party in the Pews is Returning to Christ Church in Macclesfield with an Unmissable Lineup – Low Ticket Warning

Posted on 22 April 2023

With five weeks remaining until Party in the Pews gives indie, pop, post-punk, psych, and rock fans to get pious about, the ticket supply for the hotly anticipated two-day festival in Christ Church in Macclesfield is close to running dry.

The inexplicably impressive line-up curated by Jo Lowes, who is quickly becoming Manchester’s contemporary answer to Tony Wilson, comprises two well-known headliners who need absolutely no introduction; Badly Drawn Boy and The Futureheads. As stoked as I am to hear their iconic alt-indie hits, it is the supporting artists that are making me shake off my usual levels of festival-going apathy.

The psychedelic visionaries Heavy Salad always warm the soul with their endearingly cultish stage presence, Pavement-ESQUE cruising riffs and harmonised to the nines vocal arrangements. If Stephen Street was keen to produce their upcoming sophomore LP, you should be stoked to witness their mind-altering aural conjurations live.

Sam Scherdel on the line-up affirms just how on the pulse of current breakthrough artists Jo Lowes is. It is only a matter of time before his enigmatic indie rock anthemics that amplify his ruggedly affectionate everyman blues establishes him as one of the top indie rock artists in the country.

After a series of sell-out shows and acclaim from just about everyone who matters in the industry, Dirty Laces will tarnish Christ Church with their grimy vintage rock rancour that proves the extent of their reverence to the proto-punk past and seriousness about sealing guitar music’s place in the future. They’ve got psych grooves and razor-sharp dark hooks by the execrably exhilarating smorgasbord.

You might want to dress up warm for the Manchester-based supergroup, Sea Fever. There will be an atmospheric chill in the air when they spill their scintillating darkwave synthetics into the venue. Members of the five-piece banding together after working with Johnny Marr, Section 25 and New Order is infinitely less exciting than the coldly transcendent tones they subject their live audience to through their pulsating beats and hypnotic strings.

The final few full weekend tickets are available via Skiddle.

Check out the Party in the Pews event page on Facebook.

Amelia Vandergast

How to Promote a Concert in a Fragile Live Music Industry

Posted on 31 October 2022

Whether you have been asked by a promoter to sell tickets to an upcoming show or you have put on your own gig, there are a few golden rules on how to promote a concert you should follow to boost your attendance, and hopefully avoid every artist’s fear – playing to an empty room.

While it is true that artists are currently struggling to sell out their tour dates with 2022’s Mercury Prize winner, Little Simz forced to pull their tour due to financial constraints along with Animal Collective also struggling to budget for their tour, this isn’t a sign that you should give up the ghost just yet.

Before you put your blood, sweat, tears and own funds into playing live, make sure you are playing smart. A common mistake new independent artists make when they don’t have a band manager to push them in the right direction is playing too often in their hometown.

Times are tough, and even if you have a loyal fanbase that will do their best to support you, if you’re playing every month in your hometown, don’t expect to magically find new fans that will come out in support of you. Or that your most loyal fans will shlep from their busy lives time after time when they know that they will probably see the same show they’ve already paid their good money for.

Circle-jerk gigs are killing live music scenes up and down the country – don’t be a part of the problem! With that warning out the way, we will move on to how to effectively pull a crowd to your live dates to make sure that the attendees aren’t solely the support acts and people working at the venue.

8 Ways to Promote a Concert

1. Circulate Videos of Your Past Live Performances

We have all been to gigs after falling in love with a band’s records, only to be sorely disappointed by what the live show entails. If you thrive in the domain of live music, make it known to your fans by creating promo videos for your live dates using footage of your past shows that can be posted across your social media channels. Additionally, share any good quality fan-made videos from your last gigs and post live content to YouTube and other streaming platforms.

2. Reach Out to People Individually or Offer a Cheap List to Friends

Many independent artists boost their attending lists by offering access to a cheap list for their friends, family, and industry figures, such as journalists, photographers, and A&R reps. That personal touch can be what it takes to convert someone considering attending the show into a ticket holder. Go carefully with this approach; don’t hound people into paying for a ticket! Always use discretion.

3. Utilise Gig Listing Platforms and Publications

Many local newspapers and online music publications run features every month to let readers know what is happening in their city. Rather than sitting and hoping that your gig will be picked up by the editorial team, be proactive in your gig promotion efforts to make sure that your upcoming shows have the best chance of being noticed. Using Manchester as an example, The Skinny, All Gigs, Visit Manchester, and Manchester Gigs all promote upcoming live events, along with other national sites, such as Skiddle and Song Kick.

4. Choose a Crowd-Pulling Support Act

If you have free reign over who opens for you, decide wisely. Book a local opening act that has a proven fanbase and is willing to put the effort into pulling a good crowd. Rather than just roping in your friend’s bands in an act of nepotism, consider if your fans would want to watch this band too. After all, gig-goers are far more likely to stump up the cash for gig tickets if they think they will enjoy the entire evening, not just an hour’s worth of entertainment they will have to go out of their way for.

5. Plaster Your Gig Dates Everywhere

If you have Spotify for Artists, you can easily upload your tour dates to the platform, so the next time someone flicks through your discography, they will see all of your upcoming tour dates. As Spotify is one of the main ways music fans discover music, it makes sense to use Spotify as free advertising for your upcoming gigs. Similarly, if you have an official artist website, which every artist definitely should, all of your upcoming (and past) gigs should be listed here too.

6. Create an Event Page on Facebook

Even though you may not be able to trust who is coming to gigs via the attending and interested lists on your Facebook event pages, Facebook events are one of the best ways to circulate news of new gigs. Be sure to keep the page updated with the necessary information, such as who is opening the show and the set times. Many disagree that set times should be published as this discourages gig goers from watching all of the bands, but by publishing set times, you’re more likely to boost attendance by letting fans know how to arrange their travel plans.

7. Get to Grips with Digital Advertising

If your budget allows it, promote your gigs and tours via Facebook, Instagram and Google adverts – just be sure to set the appropriate parameters. For an efficacious digital advertising campaign via sponsored ads, ensure that you are only targeting the right geographical audience and people who have seen your posts before. For bands who can’t afford paid ads or are reluctant to use them, email marketing and using local hashtags can also increase the number of ticket-holding gig goers.

8. Don’t Rule Out Conventional Means of Advertising

Social media may dominate a worrying proportion of our daily lives, but that doesn’t mean that gig promotion solely has to happen across digital platforms. Team up with talented graphic designers to create an eye-catching gig poster that can be used online and printed and plastered across the town or city you’re playing in. Ask local businesses, such as bars and shops if they would mind putting your tour poster in their window – the worst that could happen is that they say no.

Article by Amelia Vandergast

Oversaturating the Home Turf: Why Playing Locally Too Often is Bad for Your Music Career

Posted on 6 August 2022

Oversaturation infringes every corner of the music industry, but none quite as cloyingly as the arena of live music. Bands start out with the eagerness to play as many gigs as possible. It comes as no surprise that when they’re at the point of overplaying in their hometown, they fail to realise that their prolific presence on line-ups can ultimately damage their career in the long run.

Why Playing Locally Too Often Impedes Your Music Career

Two main traits of artists able to sell out hometown gigs, talent aside, are their tendency not to excessively gig in the same area and their commitment to giving each show a purpose.

Every time someone sees you on a bill, they will weigh the pros and cons of seeing you. It is all too easy to become the band that someone disregards because you’ll probably be playing again soon anyway. Or it could be that they just saw you a few weeks ago at a venue down the road, and they doubt seeing you again will be worth the time, money, energy, and backache, if they’re over 30!

Taking every opportunity extended by various promoters to play in your hometown or in the same area can be tempting. So tempting, it can lead some artists to become oblivious to the fact there is only a certain number of people in any given scene. And yes, that goes for big Metropolitan cities too!

See the irony in the fact that most local bookers are hesitant booking out of town acts because they won’t realistically bring their fans to fill the venue. Even if you do have a devout local fanbase, don’t assume that they have got little else going on in their lives that they will constantly be there to support you.

If you’re still under the impression that the more gigs, regardless of the location, the better, consider how excited you would be if you knew that you could go down the road and see your favourite artist EVER play every week.

Unless there is something fundamentally wrong with you, which means that you’d retain excitement from replicating an experience over and over again, the gloss would quickly get stripped off your favourite artist being perpetually available and demanding your attention. Even the greatest pleasures have the potential to become monotonous. ‘Things’ are only as good as the measure of them.

If you play gigs less frequently in your hometown, you will get MORE of a draw because you will create scarcity and a sense of exclusivity. Music consumers, much like any consumer in our modern late-stage capitalist hellscape, thrive on scarcity. Marketing executives love to abuse the fact that the masses are mercenary enough to make Gollum look altruistic. The trend of absurdly expensive music NFTs proved it! As do the people who collect white label records or drool over the prospect of owning an icon’s guitar. And realistically, there would be infinitely less hype over Glastonbury if everyone could snag a ticket every year! Demand being greater than the supply is a consumer’s kryptonite.

If you do become a band known for selling out venues – regardless of the size – in your hometown, people will be far quicker to purchase tickets when they go on sale, to avoid another great driver behind modern marketing, the fear of missing out! Additionally, you will become infinitely more attractive to gig promoters outside of your local area and festival bookers when you can show them glimpses of adoring fans eager to inch their way front to your shows. You’re not fooling anyone by posting gig photos taken a long way from the barrier or the stage that don’t show a single audience member.

How Often Should You Play Local and How Should You Play It?

There is no short answer. The general rule of thumb for playing in your local circuit tends to be four times a year, or at least playing gigs 6 – 12 weeks apart in the same area, the number also depends on another factor; the quality of your shows.

Every show should be an event. If you don’t have new music to promote at your shows, get creative in coming up with why fans should see you for the first time AND subsequent times. Go acoustic. Come up with a concept, beyond just giving your run of shows a clever name. And never underestimate the impact of creating something that seems unmissable to fans old and new.

Hopefully, I have pulled you out of the “but, but, but EXPOSURE!!!” trap by this point. Because even if it does seem like common sense that more shows = more fans & tickets sold, the effect is almost always the reverse! Any good band manager would tell you not to overplay your local circuit, but with so many more 100% independent artists doing everything themselves, there is no-one to impart this sound advice.

If you are playing the gigs needlessly and aimlessly, that time/energy could be far better expended on networking, self-promotion, writing and recording new material and actually coming up with a long-term plan. There may be no glory like taking a roof off a venue and hearing the demand of an encore, but for that to be sustainable, your tour plans have to be logical.

It may be easier and quicker to play a venue that is on your bus route instead of clocking up the miles in your tour van; that is no reason to allow convenience to override common sense.

For some, all of the above will be a bitter pill to swallow and I will have undoubtedly burst some bubbles by opting for harsh truths over adding botox to lip service. Yet, I offer very little apology in pointing out exhausting every local gig you can is akin to aural incest. Don’t get hooked in the big fish in a small pond mentality.

If you still need convincing, take some advice from Ari Herstand, artist and author of the best-selling chart-topping book, How to Make It in the New Music Business, which has been adopted by music business schools globally. His definitive guide on accepting gigs, factoring in career-building potential, merch opportunities, pay and enjoyment, is freely available here. For the love of God, bookmark it!

Amelia Vandergast

Live Music’s Glass Ceiling: Up and Coming, But Going Where?

Posted on 9 July 2022

There is always more than one angle on any given scene. But there is an elephant in the live music industry taking up the unattended room and gorging on the irony of our desire to save iconic indie venues while being ambivalent about the reason they exist in the first place. And no, that isn’t to keep the doors open on your sentimentalised fragments of youth.

The future of music is disintegrating around the fixation of legacy acts that hold the monopoly of the live music industry while only creaking out of their coffins to effectively catfish us at £50+ a pop on their anniversary (read: crucifixion) tours. At some point, recollection became more compelling than discovery, causing more artists to concuss themselves on the glass ceiling invisibly constructed around indifference of newness.

What does the average music fan care if the current hierarchy of gods and nobodies creates classist unsustainability for your average independent artist? Not a lot. They have no vested interest in the future of artists they’ve never heard of. Ignorance is bliss.

Until revered by dictating tastemakers, they have paid their way into the industry or just got INCREDIBLY lucky; independent artists are up, coming, and going nowhere. That isn’t an insinuation that the music industry has ever been an egalitarian dream; far from it. For some perspective, imagine the current state of the music industry if we ignored the bands on the rosters of Rough Trade, Factory Records and Mute Records because we were too preoccupied with what happened five decades before. That’s precisely where we’re at in 2022.

While the majority raved at how impressive it was for McCartney to headline Glastonbury at 80, in context, it’s a symptom of a far more insidious disorder in the live music industry.

Independent artists are lucky if they break even on tour, let alone break into the industry. Where does this past-decade-sonic-memento fascination end? Do we only let new blood seep into the industry if it sates the affluent artists that need a cheap/free opening support band? Sure, the stamina of an octogenarian icon is impressive. As impressive as the new music that constantly comes our way? Absolutely not.

For what it is worth, I understand the lack of enthusiasm for discovering and supporting independent music. I’m as prone to lapses of jaded disillusion as the next person. Consumer confidence hasn’t been in pits deep as this since the 70s. It plunged with the cognitive bandwidth that gave us the luxury of being able to care about such frivolous things.

Buying tickets to tours just announced doesn’t seem as appealing with the constant reminders that inflation keeps rising at the same rate as the water we have to keep our heads above in this hyper-warped time. Lest we drown in the entropy force-fed by entities that prefer us cowed into fear, division, and isolation. As if a collective of awkwardly amalgamated bodies at gigs that have forgotten to be in a crowd wasn’t enough to make music fans give See Tickets a wide birth.

In the run-up to Glastonbury, the BBC speculated how overwhelmed attendees would be. That same funk and social awkwardness have been floating around every venue since July 2021. If you haven’t noticed it, that’s probably because you’ve started treating gigs like kebabs. In the cold light of sobriety, you’d give it a miss; with your favourite anxiety-quashing poison, you’re numb to the questionable sensory appearance, and that legacy acts give their apathy to their roadies as the heaviest thing to carry.

Something has got to give before the reality of live music plunges deeper into a Black Mirror plot and we are left with an ageing population of icons that we will glue ourselves to before they appear on our screens as holograms on tour and rave about the experience.

But who am I to imply that supporting independent artists should take precedent when every passing day the media etches into our psyches a scarcity complex and teases us further into nihilism? Someone painfully aware of the cognitive dissonance choking the live music industry and desperate for the resurgence of the punk ethos.

How many times have you heard some iteration of “if you are in it for the money, you are in the wrong industry?” as though we should let live music be another death knell of capitalism and its greedy for independent artists to not be out of pocket for all that they contribute to society?

After all the insistence on the value of music and creativity that echoed in lament while it was on pause for 18 months, independent artists gritted their teeth through the cumulative blows and prepared to play their role in society once again. Only to find that getting enough advance tickets sold to leave the promoter inclined to carry on with the event is near impossible.

Independent music has triumphed over the oligarchy before. Just as it did after the economic crisis in 1974 when punk and electronica burst the pop bubble that would have been impenetrable if it weren’t for the likes of Tony Wilson and Geoff Travis. Technically, the industry is more accessible than ever before through the power of social media and software enabling artists to create masterpieces in their bedrooms on a shoestring. But what use is the power of technology if we passively accept its manipulation?

And for anyone thinking that the threat of the world ending is enough justification to mentally nope out of giving a fuck about culture, every generation before us has believed that they will see end times. Fear is a fundamental part of the human experience; the end is always nigh when prophecies of doom are so attractive to our ego-driven minds that believe we will see reality crumble around us.

Turn off the news. Support scenes that allow artists with autonomous voices to thrive. Smash the illusion that enough fame makes a person celestial, and maybe apply some self-awareness to the sycophantic fetishization of a few key figures.

Amelia Vandergast

Australia’s Cannon blast in with lead single ‘Enemy’ from forthcoming debut album

Posted on 24 October 2020

Melbourne, Australia is the home of the exciting outfit Cannon. They blast in the dusty music venue with lead single ‘Enemy‘ from their forthcoming debut album. This is that Ozzie rock that we all needed to quench that thirst for rocking music.

Recorded and mixed by Fabian Hunter, mastered by Nao Anzai and with artwork by Mary Streepy, this is a lively indie rock single with a band that is so right together, this is a high-paced journey that will take your breath away. This is that jam a long band to sway your whole body to and just dance.

This is the kind of local band you go and watch live. New in name but the years of experience shows through here. The sharp vocals cut through the speakers with the catchy rhythm that is of guitar riff in abundance. The lights are on real bright here, this is a song that is perfect for 2020. We are all looking for the enemy instead of the opposite. The world is backwards and the world needs music to inspire our confused hearts.

‘Enemy, Enemy, who’s your Enemy?’ rings through and Cannon are an act to watch closely. This new band have that extra bit of quality is so rare.

Support the band on Bandcamp.

Head through to the Facebook link.

Reviewed by Llewelyn Screen

Alex Lleo is on top form with brilliant ‘Easy Way’

Posted on 28 August 2020

Alex Lleo is back in a big way with his excellent new indie-pop release called ‘Easy Way’.

Alex Lleo is a singer-songwriter from Birmingham and he returns with such a gem of a song that will let us all think about what is around us.

Spending time in nature – in Worcestershire’s Lickey Hills where Alex lives and grew up, the awe-inspiring Scandinavian mountains, and surfing the various coastlines of the British Isles has shaped Alex’s creative outlook. You can hear his attraction to the natural world, its peace and its drama, in his music, which is exquisitely-paced, laid-back and rich in melody.

This is such a lovely song and I love Alex’s voice. The vocals are smooth and his stories can be related to. Not taking the easy way out is the answer and instead doing things with a glint in your eye, staying positive no matter what 2020 has brought you. This is a time for us to heal. Alex Lleo from Birmingham does precisely that on ‘Easy Way’.

Stream the new song right here on Spotify.

Head here for the Facebook page.

Reviewed by Llewelyn Screen

Cardiff’s Sarah Brown changes direction on breathless ‘Liability’

Posted on 28 August 2020

Pop-Soul singer-songwriter from Cardiff in Wales, Sarah Brown, is back with another self-aware track with lots of powerful vocals called ‘Liability‘.

You feel like you always do what you believe but some people try and bring you down. You are in the mood of going on your own journey and you feel its your time. Small-minded people try and knock you down but you are just going to dust off any doubt and do you think. I love this mentality and it feels like Sarah has the right vibe right now to succeed.

The Cardiff-based singer has such a sultry voice as she breathlessly shines here and hits some supremely high notes that impresses the speakers. ‘Liability‘ is a bouncy song that is her way of showing what she is made of. The future is so bright for the artist that can do so many different styles that shows her emergence on the UK music scene.

Stream this wonderful song here on Spotify.

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Reviewed by Llewelyn Screen

Midnight Drive’s ‘Over It’ is the electro anthem of 2020

Posted on 8 August 2020

Midnight Drive are a new electronic act in the game and they return with their 3rd single called ‘Over It‘.

Nothing is going to save this relationship sadly. The love has gone and you are over it. You had amazing memories but the time to turn the page and close the book is now. You need to move on and be free again, finding happiness is this destructive world is key to your mental health.

There is lots of indie electro forces here and the beat is so jarring and thuds into your ears. I love the beat and the raspy vocals make this a winner. This a breakout anthem that is a pleasure to listen to.

Midnight Drive’s ‘Over It‘ shines through the door like a bright light wanting to force itself in. There is a style and a panache here that is unlike most bands. This is an outfit that are making a name for themselves.

Stream this poignant song here on Soundcloud.

Reviewed by Llewelyn Screen

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