Pete Cogle. Podcaster & Grassroots Music Advocate

Latest News & Podcasts

  • Kobaïa

    I’ve listened to many, many concept albums, especially during the prog rock era. Floating planets, Armed armadillos, Puerto Rican gang members contracting syphilis, Massive towers in the middle of a jungle. You name it. I’ve heard it, and loved every minute.

    But I missed out, for some reason, on  Kobaïa by Magma. That changed recently. Formed in Paris in 1969 this collective of artists produced this debut album – a double album at that – after hiding themselves away in the French countryside for three months.  It’s the story of a group of people fleeing a doomed Earth to settle on the fictional planet Kobaïa. The first song, which is sung mostly in English, all lyrics are sung in the Kobaïan language which was invented by the band.

    It’s Jazz meets Prog Rock. It’s mad. It’s wonderful. Give it a listen.

  • Why Ethics Matter in Grassroots Music Venues – Episode 19, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode, Toni joined by Charlie and Lala to explore the values that sit at the heart of grassroots music venues. Moving beyond funding and survival, the conversation looks at ethics, care, and culture, from sustainability and access to diversity, transparency, and community impact.

    All data is correct on the date of filming 08/01/2026

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

  • How can a band signed to a major label be broke after playing for two months in arenas?

    Witch Fever say that they have been left “broke” after two months of playing arenas in the UK and Europe.

    “It’s a Brexit issue,” “We’re basically paying double tax. We pay tax in the UK and we’ve had to pay tax on all of the fees [internationally]”.

    Watch the video below for the full story.

  • Bitches Brew

    The next album I’ve chosen in this series is Bitches Brew by Miles Davies.  It was recorded in New York between the 19th and 21st August 1969, when the world was watching the Apollo 11 moon landing, and came out in 1970. It features so many great musicians that went on to perform for many years (Wayne Shorter, Chick Corea, John McLaughlin, Joe Zawinul, Herbie Handcock, Lenny White, and many more).

    One of the key thinks I like about the album, especially if you listen with headphones, is that you can imagine yourself in the room with Davies in the centre and two groups of musicians, one on the left and one on the right. If you concentrate you can really hear the differences between the left and right channels. On the first track Pharaoh’s Dance you can clearly hear three pianos: Joe Zawinul (left), Larry Young (center) and Chick Corea (right) plus two drummers: Lenny White (left) and Jack DeJohnette (right).

    Apparently most tracks were edited later in the studio, repeating sections and adding effects, but I can’t say I’ve ever found the joins.

    It’s a double album and runs to 1h45 so you’ll need a nice comfortable sofa, but your earls will thank you for it.

  • MVT 2025 Report Feedback

    The press were out in force with the MVT report releasing it’s 2025 report. Here are a few of the articles that came out of that event. All of these focus on different parts of the report.

    MVT-2025-Report-Cover

    BBC Front Row Podcast (Kirsty Wark, Mark Davyd and Kathryn McShane discuss the MVT Report)

     

    Podcast: Play in new window | Download (Duration: 7:19 — 6.7MB)

    You can read the MVT 2025 Report yourself HERE.

     

  • Jazz Gone Dub

    The next album I’ve chosen in this series is Jazz Gone Dub by Gaudi .  It’s an album that just came out in December 2025, but it’s something I’ve really enjoyed in it’s entirety. Apparently it took four years to create, and includes David Hinds of Steel Pulse, Jah Wobble, Ernest Ranglin, and the legendary rhythm duo Sly & Robbie.

    I recommended it to my buddy, Peter Clitheroe, and he purchased it minutes after his first listen. If you like Jazz and you like Dub, it does exactly what it says on the tin.

  • Inside MVT’s 2025 Annual Report – Episode 18, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this special episode, Toni and Mark unpack the findings of MVT’s brand Annual Report for 2025. They dig into what the data really shows about the state of grassroots music venues across the UK. Disclaimer:

    All data is correct on the date of filming 08/01/2026

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

  • MVT 2025 Report

    MVT-2025-Report-Cover

    The Music Venue Trust’s Annual Trust 2025 has just been released. Here are the key numbers, and how they compare with previous years

    2025 2024 2023
    1. Emergency Responses 205 200 164
    2. Grassroots Music Venues 801 810 835
    3. Total Audience Visits 21,683,552 19,410,630 23,657,220
    4. Events 174,552 162,092 187,040
    5. Individual Artist Performances 1,058,462 1,485,360 1,683,360
    6. People Employed 24,742 30,865 28,223
    7. Total Value of Sector 558,525,252 £525,570,745 £501,101,118
    8. Profit Margin 2.5% 0.48% 0.50%
    9. Total Subsidy on Live Music  76,643,679 £162,067,095 £114,814,162

    You can read the MVT 2025 Report yourself HERE.

    Notes

    1. The MVT is still extremely busy helping venues needing emergency responses. The number of responses has not gone up by a huge amount, but it’s still a high level.
    2. We had a net loss of 9 venues this year. This is the lowest rate of annual decline since 2018. 30 venues permanently closed and 48 stopped operating as grassroots music venues but 69 new or revived spaces joined the network.
    3. Audience visits went up an average of 13%. It’s still not the 2023 level, but it’s a welcome improvement.
    4. There were 7.7% more events than in 2024. Again, it’s still not the 2023 level, but it’s a welcome improvement.
    5. Individual artist performance numbers dropped by 28.7%. This is a massive change after the 11.7% drop in 2024.  The same headline acts are playing more shows.
    6. There was a 20% reduction in workforce. The most substantial fall since annual data collection began. The increase in employer NI is cited as the biggest issue. The number of paid contractors dropped from an average of 20.7 to 7.6 per venue. Volunteer levels dropped from an average of 7.0 to 4.2 per venue. The remaining paid staff are having to work longer and harder.
    7. The total value of the sector rose by 6.3%. Hardly surprising, considering the rising costs for everyone in 2025.
    8. The profit margin rose to 2.5% but 53.8% of venues reported no profit in 2025. This is still very low. 38.1% of venues now operate as not-for-profit entities.
    9. The amount of money MVTs lost on Live Music (Income minus Expenditure) reduced by 52.7% due to a greater proportion of paid, not free, shows. It’s still a big loss, but it’s a welcome improvement from last year’s level.

    The report highlights 4 major areas that shaped 2025:

    1. Employment. The increase in employer NI contributions being the most significant factor.
    2. Touring. 59.3% (475) venues were excluded from significant tour routings, as tours got smaller. Hopefully once the Grassroots Levy funds are distributed in 2026 this can be addressed. Bilk’s October 2025 tour, supported by the MVT, saw them target many venues that they would otherwise not be able to afford to play at.
    3. Taxation. The reduction of business rates relief in England from 75% to 40% is a big issue. 20% VAT on tickets is another. The MVT is still hoping to change the governments mind on these issues. 
    4. Ownership. 38.1% of venues are now operating as not-for-profit. Music Venue Properties continues to buy more venues in it’s plan to be the “National Trust” for music venues.

    My Conclusions

    1. 2025 was a tough year, but the venues did their damnedest to keep the sector going.
    2. If the government does not do a U-Turn on its reduction on business rate relief or continues to enforce 20% on tickets (AND the Grassroots Music Levy) then 2026 could be a terrible year.
    3. But the folks at the MVT know what they are doing and they have the right contacts with the right people. If anyone can affect change, it’s them.
    4. I will still be able to enjoy gigs at grassroots venues this year. That’s the best news of all.

    Update

    MVT have since posted the following on socials:

    • We announced the beginnings of so many exciting projects last night at the V&A. Imagine if music venues could have an “MOT” to permanently cut running costs – or even go off the energy grid entirely, keeping more money in their own pockets instead of paying energy companies.
    • We’re working on an initiative to accommodate artists when on tour, so that hotel chains aren’t getting rich off grassroots gigs, while also improving the touring lives and conditions of those artists. We’re investing in upgrading equipment – from PA systems, desks, and amps to mic stands – and making sure everything is regularly maintained.
    • We’re helping reduce promoter risk. We’re reconnecting towns and cities who have fallen off the touring map with national shows again – putting thousands of performances into hundreds of towns.
    • We’re doing all of this with your help, and our partners and donors, as well as the support of those arena and stadium artists and promoters already voluntarily donating a grassroots levy on tickets. Stay tuned in 2026. And download our full report at MusicVenueTrust.com to see what’s happening and how you can join us.

     

     

  • Afrodisiac

    The next album I’ve chosen in this series is Afrodisiac by Fela Kuti .  It’s cited as a major influence on Remain In Light, my favourite album by Talking Heads and there’s an unfinished outtake on the deluxe version on that album called Fela’s Riff, which draws heavily on Alu Jon Jonki Jon, the first track on Afrodisiac.

    This album was recorded Abbey Road in London in 1972 and released the next year. I like afrobeat but know little about the classics, so this has been an exploration for me.

  • Waiting In anticipation of the MVT 2025 Report

    The Music Venue Trust’s Annual Trust 2025 is due out tomorrow at their event at the V&A and online on Wednesday. Mark Davyd has already highlighted at 2025 was an incredibly hard year for the sector but that there was hope at the end of the tunnel.

    So let’s refresh ourselves at some of the figures from the 2024 report:

    • There were 200 emergency responses. Which is an increase of nearly 19% on 2023
    • There were 810 Grassroots Music Venues
    • 19.4 million audience visits
    • 162 thousand events
    • Nearly 1.5 million individual artists performances
    • Nearly 31 thousand people employed
    • A value of £525.6 million total value of the sector
    • An a whopping 0.48% profit margin
    • £162 million total subsidy of live music

    I’ll be keeping an eye on the new report to see how much things have change over the course of 2025.

     

  • Sunrise – Episode 17, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode, Toni Coe sits down with Mark Davyd, CEO of Music Venue Trust, for a reflective conversation about the state of the grassroots music sector at the start of a new year. Looking back to January 2020 and the long period of survival that followed, they explore why 2025 was not the year the sector turned the corner, but why the foundations now feel stronger than they have in years.

    Disclaimer: All data is correct on the date of filming 08/01/2026

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

  • TDZ#294… Tuff Dub…

    TuffDub… with tracks by… DJ Saeg, Fractal Seed, Dubmatix, Audacious P DubDaddy, Elastica Dub,Sarod Mystics, Makyo, Ras Tamano, Dahbors, Manwel T, Sumac Dub, Youthie, Phoniandflore

    Podcast: Play in new window | Download (Duration: 36:33 — 33.6MB)

    • 00:00:00  DJ Saeg (feat. Fractal Seed) – Rub It Scrub It [Culture Dub Records]
    • 00:05:08  Dubmatix – Tribal Dub (Audacious P. Dubdaddy Dub)
    • 00:08:59  Elastica Dub & Sarod Mystics – Camel walk [Dubophonic]
    • 00:12:22  Makyo – Things Ah Get Dub [Dubmission Records]  [Explorations In Dub]
    • 00:16:48  Ras Tamano & Dahbors – Sanpo [Ras Tamano Music]  [Explorations In Dub]
    • 00:21:56  Manwel T – Ratatatatatatatata Dub
    • 00:25:06  Sumac Dub – No Man’s Dub (Youthie Remix) [ODG]
    • 00:29:11  Phoniandflore – Dub Fire (Part Dub) [PhoniandFlore]

    This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC-NT-NC-ND 4.0) License

  • Music Venue Trust partneres with Setmixer

    Music Venue Trust have recently partnered with Setmixer

    From MVT on Instagram:

    “Music Venue Trust have recently partnered with Setmixer to help bring automated live recording technology to venues across our network, with no upfront costs.

    This system plugs straight into the venue’s live feed and does the rest. Artists get full ownership of high-quality live recordings. Venues get passive income from future sales. And everyone benefits from better documentation, visibility, and archive of what’s really happening in our grassroots spaces, without adding to anyone’s already-overflowing workload.

    It’s a smart, sustainable, and scalable way to support venues and artists alike – and a great example of the practical, low-burden solutions MVT is prioritising in 2026 and beyond.

    Finding models that work under real-world pressures, and not just in theory, is crucial to backing the live sector.”

    You can have a listen to 30sec on each track of events recorded at setmixer.com before you decide to pay for full access. Then you can download and keep the MP3 version. You can sort by band and venue. The Brunswick in Hove has both the Main Room and The Cellar on board!

  • My Life In The Bush Of Ghosts

    I wanted to start 2026 with a new way of listening. I’ve been dabbling with individual tracks here and there for many years. Primarily because of the podcasting. But I remember years ago spending time listening to whole albums. Listening to the whole thing, filler tracks and all. I used to enjoy reading the lyrics and admiring the notes of gatefold sleeve vinyl albums. OK, so those days have gone but I’m trying to listen more deeply. So I have embarked on a listening and learning process to discover whole albums, both old and new.

    The first album I’ve chosen is My Life In The Bush Of Ghosts by Brian Eno and David Byrne. It’s an album I’ve known about for years but not one I’ve ever really listened to.  It’s an iconic album recorded in 1979-80 using loads of samples over African and Middle Eastern rhythms. It may seem simple to achieve these days but this was before digital technology transformed the recording process and must have involved enormous amounts of tape being manually spliced together. It was recorded before Remain In Light, my favourite album by Talking Heads and one I have listened to intently for the last 45 years. Listening for the first time I can hear how My Life In The Bush Of Ghosts clearly influenced Remain In Light. 

    The version available online today differs from the original 1981 vinyl because the track Qu’ran was later removed after the Islamic Council of Great Britain objected to the use of samples. 

  • Keeping Bandcamp Human

    I’m not a fan of AI being used in the creative arts. Taking someone else’s creative input and appropriating it as your own is lazy, uncreative and wrong. I want AI to be doing the drudge work, giving people time to learn of develop their musical, artistic or creative sides. Not vice-versa. So I’m happy to see Bandcamp confirm yesterday:

    • Music and audio that is generated wholly or in substantial part by AI is not permitted on Bandcamp.
    • Any use of AI tools to impersonate other artists or styles is strictly prohibited in accordance with our existing policies prohibiting impersonation and intellectual property infringement.

     

  • The Artist Development Cycle: Why it’s Taking Longer to Break New Artists

    “This Is Music” is UK Music’s annual economic report into the financial health of the sector. You can read the full report HERE.

    They have also written an article about the Artist Development Cycle, which you can read HERE. They comment:

    “Artist development is not an exact science with no one fixed method or metric to achieve and measure success. Since 2020, there has been a shift in the market, with fewer debut albums by UK artists making it into the year-end top 1000 album charts, as artists are taking longer to achieve breakthrough success. Some of the factors influencing this trend are global, and there is evidence of similar trends in other markets, most notably the USA. The Artist Development Cycle is easily misunderstood. This section describes the challenges, the context, how the industry is innovating, and where government can help.”

    I’ve included the section of the report on Grassroots Music Venues below.

    Foundations - The Grassroots Ecosystem

     

     

  • The Sound of Silence

    Baroness Hodge has published her independent review of Arts Council England. You can read the whole thing HERE.

    MVT’s Mark Davyd seems less than impressed.

    “The review could have taken the time to endorse a simple contribution from the most commercially successful parts of live music to support the grassroots that feed it. Silence. […]

    Culture in this country is not dying because it lacks boards, frameworks or strategic visions written in careful language. It is struggling because the places where it begins are being starved of oxygen. They are under-funded, over-regulated and constantly asked to justify their existence to systems that fundamentally misunderstand what they do. […]

    The Hodge review offers comfort to those already seated at the table and a flashing neon No Vacancies sign to everyone else.”

    It’s going to be another tough year ahead in 2026.

    The Sound of Silence by Mark Davyd

    Who public funding works for, who it doesn’t, and why that question keeps getting parked.

    Read on Substack

  • MPs write to Chancellor over impact on hospitality and entertainment venues

    Chair of the CMS Committee, Dame Caroline Dinenage MP, said:

    “Venues, clubs and cinemas up and down the country are already struggling for survival, but instead of coming forward with support for premises vital to our high streets and culture, the Government with its planned business rate reform risks pushing many over the edge.

    “The Treasury needs to be open about how it decided on the changes, while the sector desperately needs more details on the alternative support promised by the Prime Minister.”

  • Grassroots music venue “Where Else?” in Margate appeals for help to raise £40k to avoid closure by end of month

    This venue obviously wasn’t being considered by Music Venue Properties as a potential venue to purchase, but it does appear to be in bad shape. They are now crowdfunding for £40,000 to do the following:

    • Clear £15,000 of legacy debt
    • Pay overdue supplier invoices
    • Settle a critical VAT bill
    • Recover lost income from the licence disruption
    • Repay personal credit used to support the venue
    • Stabilise cashflow through the quieter months

  • UK Music Spending Climbs in 2025 — But Artists Still Face Tough Realities

    Data from The Digital Entertainment and Retail Association suggests music revenue in 2025 was up 4.2% on 2024 levels but that the pace of growth has slowed. 

    Given the planned changes to business rates in 2026 this can only get worse.

     

  • Sunrise for Grassroots Music Venues?

    My favourite part of this piece:-

    “If you cannot laugh at the absurdity of explaining, for the fiftieth time, that a venue with a 0.48% margin cannot absorb another pre-profit tax hike, you will end up screaming at a spreadsheet”

    I just wish the politicians actually listened.

     

    Sunrise by Mark Davyd

    Are we emerging from a long dark night for the grassroots music sector?

    Read on Substack

  • Meet the music fans fighting to save grassroots venues

    Meet Rachael McEntee, founder and operator of The Snug in Atherton, near Wigan. One of the properties now owned by Music Venue Properties.

    This article from the Times (via archive.today)

  • Bob Lefsetz

    Bob Lefsetz has been blogging for as long as I’ve been podcasting. Even a few months longer.  Yet I’ve only just heard about him in the last few months, thanks to my old mate Peter Clitheroe. I’ve now subscribed to his Lefsetz Letter where he claims to be first in Music Analysis.*

    He appears to be a big thing in music, yet I very much doubt he and I would be friends. How do I know? Firstly take his Let The Clubs Close blog where he argues that today’s generation do not want to go to clubs to listen to unsigned artists. Now I know I live in a cultural bubble, being close to the city of Brighton where there are numerous Grassroots Music Venues (I stopped counting at 18 but there are more I haven’t been to) so my experience will not be “the norm”.  I saw 97 bands last year, down from 108 in 2024, as I was trying to be more selective about who I saw.  The crowd at these gigs was always varied, but I acknowledge his point that it’s some of todays generation (by which I assume he doesn’t mean me boomer!) do not want want to bother with bands, booze and nights out. Yes, there does appear to be a cultural/generational shift. 

    But I disagree with his assertion that clubs should just be allowed to close because no-one goes there anymore. I also disagree with his assertion that  artists now move from the bedroom producer to the arena headliner thanks to social media alone. He names people who have done this: Chappell Roan, Sam Smith & Olivia Dean, but how many have come along because of the GMV infrastructure? I’ll give him some examples: Coldplay, Sam Fender, Ed Sheeran.  I’m crap at card games but I would win at top trumps bitch! His assertion is not true, at least in Brighton.

    And now we have yesterday’s blog The Live Business, where he now says the world is not producing enough hit acts. He argues that there are no good opening acts trying to blow the headliner off the stage. Well, where have you been going to look Bob? You’re not at the venues I go to, I can assure you. I’ve seen several support acts this year that have blown the socks of some headliners I’ve seen. Is it because I’m still going to the clubs you said should close and you’re not? Because they closed?

    He goes on to say “How about the shows that are struggling, how about quality new acts without traction…who is talking about those, who is championing those?” Well who do you think Bob? Myself, the folks at MVT, MVP and the Live Trust. The Promoters, Agents, Managers and Artists themselves. And how to do they get the “traction” you’re talking about? By playing live, that’s how. At venues that I love, care about, and support by attending. By buying in to Music Venue Properties and becoming a shareholder in the bricks and mortar where the shows take place. 

    But hey, it’s the season of goodwill Bob. If you’re ever in the UK and want to visit Brighton ping me and I’ll take you a gig and we can talk about this some more. 

    * I’ve now unsubscribed from the newsletter. The sheer number of scattergun mindless ramblings produced per week put me right off. Quality not quantity Bob!

  • Crowdsurfing into 2026 – Episode 16, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode: Toni and Mark Davyd look back on a defining year for the grassroots music ecosystem. From policy battles and frontline crisis support to the rise of community ownership and moments of collective action, they reflect on the pressures, progress, and hard-won victories of the past twelve months. A clear-eyed end of year round-up from Music Venue Trust, closing with thanks to the venues, workers, artists, and audiences who continue to keep the last safe space alive.

    Disclaimer: All data is correct on the date of filming 11/12/2025

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

    Podcast: Play in new window | Download (Duration: 31:21 — 21.7MB)

  • I’m a proud shareholder

    I got my share certificate yesterday. Now some more venues can operate without the property being owned by someone who cares only about profit, instead of culture!

    You can still become a shareholder by investing HERE.

  • 2025 Christmas Message……

  • MVP 2025 End Of Year Update

  • MVT December 2025 Newsletter

  • The musician’s classroom: Why we need to save grassroots music venues | Steven Smith | TEDxWorthing

    In this talk, Grammy-winning musician Steven Smith reveals why the future of live music depends on the survival of grassroots venues. He shares how global superstars including the artists he has worked with and toured alongside, began their careers playing to fewer than a hundred people in tiny local rooms.

    Drawing on his own early years performing in small South London venues, Steven shows how these intimate spaces give artists the confidence, resilience, and connection that no stadium can replicate. With many grassroots venues now closing due to rising costs, redevelopment, and lack of support, he argues that losing them means losing the next generation of great musicians.

    His message is clear: if we want a thriving future for music, we must protect the places where it truly begins. Steve Smith is a Grammy Award–winning musician with over three decades of experience as a performer, songwriter, producer, and mentor. As a founding member of Dirty Vegas, he earned a Grammy in 2003, achieved Platinum and Gold records worldwide, and toured extensively across the globe.

    In 2019, he contributed to the Grammy-winning hit “Feel It Still” by Portugal. The Man, which went multi-Platinum in more than 30 countries. Since 2017, Steve has been a full-time member of the iconic British band Squeeze, performing on world tours and sharing stages with artists from The Who to Hall & Oates. Alongside his performance career, he mentors emerging musicians through Help Musicians UK and holds a Master’s in Music Enterprise from Waterbear College, specialising in sustainable careers in music.

    This talk was given at a TEDx event using the TED conference format but independently organized by a local community.

    Video posted Nov 19, 2025

  • Sector Holding the Line – Episode 15, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode: Toni and Mark Davyd break down a week of political pressure, frontline crises, and hard won momentum across the grassroots music venue sector. From the fallout of rising business rates and parliamentary scrutiny, to real time crisis support, rights management escalations, and the power of partnerships and community ownership, this Big Friday Round Up takes stock of a sector holding the line. A clear, data led snapshot of where things stand, why it matters, and how listeners can help keep grassroots venues alive.

    Disclaimer: All data is correct on the date of filming 11/12/2025

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

    Podcast: Play in new window | Download (Duration: 39:12 — 27.0MB)

  • TDZ#293… Christmas Dub…

    Christmas Dub… with tracks by… Total Hip Replacement, Pat Thomas, Aldubb, Wu.D’Sound, Jodie, Khoe Wa, Le Faune Stepper, Isaac Chambers, Dub Princess, Deep Fried Dub, Alia, Spk, Med Dred, Rastaveli Mc, Ras Nelon, South Swell Syndicate, Manwel T, Inner Echo, Wends, Nashwa, Ondubground

    Podcast: Play in new window | Download (Duration: 35:02 — 32.2MB)

    • 00:00:11  Total Hip Replacement – Bra (feat. Pat Thomas) (Aldubb Dub) [RDX Promo]
    • 00:03:26  Wu.D’Sound, Jodie, Khoe Wa, Le Faune Stepper – Biga Bang Bang Dub [Culture Dub Records]
    • 00:06:58  Isaac Chambers and Dub Princess – Let Me In (Deep Fried Dub Remix) [Dubmission Records]
    • 00:12:20  Alia & Spk – Dub Revolution [Piranha Siberia Dub]
    • 00:16:41  Med Dred Meets Rastaveli Mc & Ras Nelon – Freedom Dub (Live Dub) [Dubophonic]
    • 00:20:51  South Swell Syndicate – It’s Alright Dub (Manwel T Remix)
    • 00:24:00  Inner Echo & Wends – Higher Ground (Version) [Explorations In Dub]  [EchoPlex Records]
    • 00:28:29  Nashwa – Lawla (Ondubground Remix) [ODG]

    This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC-NT-NC-ND 4.0) License

  • Mark Davyd reflects on the positives and negatives for the grassroots sector in 2025

    Here are the key points from Mark’s monthly column in Music Week, which you can read HERE.

    FIVE NEGATIVES FROM 2025

    1. Policy by accident
    2. The implementation gap
    3. The unsustainable squeeze
    4. The slow bleed of venues
    5. A sector in denial

    FIVE POSITIVES FROM 2025

    1. Artists shift the debate
    2. Fans get a formal voice
    3. Official recognition at last
    4. The ownership model proves itself
    5. The pieces are now on the table

  • Latest on Moth Club

    Hackney Council have finally made a comment regarding the Moth Club, saying

    “Hackney’s planning policies include an ‘agent of change’ principle, which places responsibility on a new development to mitigate for noise, rather than existing venues to change how they operate.”

    The MVT have responded. See their comment below

  • Bands I’ve Seen Live In 2025

    I was a bit more selective with bands I’ve seen live this year but I still managed a huge number. Here’s a selection of tracks from bands that share their music via Spotify:

  • Inside the Network – Episode 14, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode: Toni speaks with Lala, MVT’s Membership Coordinator, to uncover how the charity understands and supports grassroots venues across the UK. They discuss who makes up the network, the pressures venues are facing, and why MVT has broadened its definition of a grassroots space. A concise look at the data, challenges, and human connections that shape the membership at the heart of Music Venue Trust.

    Disclaimer: All data is correct on the date of filming 20/11/2025

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

    Podcast: Play in new window | Download (Duration: 25:48 — 17.8MB)

  • An Open Letter To The UK Government

    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.
    We have come together today to sign a joint letter to the Prime Minister.
    Why?
    Because the new 2026 Business Rates revaluations will force a £7.2 million tax hike onto UK Music Venues.
    For hundreds of stages this is a closure notice.
    We stand together to demand urgent action:
    Fair Business Rates relief and a valuation system that recognises cultural impact, not just commercial property value.
    This is a pivotal moment for the future of British music.
    And we need your support.
    Share this message.

     

  • LIVE Nation rumoured to be taking on Brighton Hippodrome?

    I can understand why LIVE Nation would want to have Brighton’s Hippodrome amongst it’s Venues. They have the money and it’s cost millions to refurbish the dilapidated site. But I can’t help thinking “It’s not very Brighton, is it?”.

    Prepare yourselves for overpriced tickets for past-their-best acts from the heritage circuit. That probably means I’ll never set foot in it’s hallowed halls when it opens in 2027. Makes me sad, but I’ll just stick to the “research and development” venues around the city.

  • The O2 and Music Venue Trust Forge Landmark Commitment to Fuel Future Talent

    It’s just been announced the O2 will make a direct donation to Music Venue Trust each time a new artist headlines the arena for the first time as part of a wider three-year commitment. It’s not known how much of a donation will be made, but I’m assuming it will vary, depending on the income derived by each of the new headliners.

    But it is known that the O2 had made an initial 6 figure donation to the MVT as a result of hosting 50 first-time performers in the last year. That’s great news.

    Obviously LIVE Nation / Ticketmaster remain to be the stumbling blocker of the complete implementation of a voluntary £1 ticket levy (minus the 20% the government insists on taking!). Lets hope this changes in 2026.

  • The Success of Own Our Venues Round Two – Episode 13

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode: Toni sits down with Matt and Chris from Music Venue Properties to break down the extraordinary success of Own Our Venues Round Two. Together they explore how the campaign soared from a £1 million goal to £1.5 million in community investment, why 1,349 people chose to become shareholders in the future of grassroots venues, the pivotal moments that shaped the campaign, and what this landmark funding means for the next phase of securing buildings for the UK’s music ecosystem.

    Disclaimer: All data is correct on the date of filming 20/11/2025

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

    Podcast: Play in new window | Download (Duration: 36:24 — 25.0MB)

  • The imaginary budget of a Chancellor who cares about culture

    Parallel Universe by Mark Davyd

    The budget speech you wanted to hear, the one where the Government actually delivered the radical approach to culture and creative industries they keep talking about.

    Read on Substack

  • Our House, Our People – Episode 12, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode: Toni and Mark dive into a fast-moving fortnight for grassroots music, covering surging political pressure on Business Rates, big wins in planning, major new partnerships, real-world crisis cases, and the rising wave of community ownership and workforce recognition driving the sector forward.

    Disclaimer: All data is correct on the date of filming 16/10/2025

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

    Podcast: Play in new window | Download (Duration: 42:53 — 29.5MB)

  • Protect Moth Club – sign the petition!

    MOTH CLUB is facing an existential threat because Hackney Council is considering approval of a residential development next door under delegated authority – denying the venue and its community a public planning hearing despite more than 25,000 objections.

    The Council has sidelined the Agent of Change principle, ignored expert evidence, and withheld a key acoustic report from an FOI request while relying on assessments that independent specialists describe as “useless”. For almost a year, MOTH Club and MVT have struggled to achieve meaningful engagement from planning officers, even after raising serious concerns about flawed reports, contradictory information, and failures in the consultation process.

    If Hackney side-steps national policy here, it sets a catastrophic precedent: any grassroots venue in the UK could be placed in the same position by developers who choose not to mitigate noise. This isn’t just a MOTH Club issue. It’s a test of whether planning protections for cultural spaces have any real weight.

    Add your voice by signing the petition HERE!

  • Budget fails to win fans from the Grassroots Music Sector

    Picture by Simon Dawson. HM Treasury photostream on Flickr. License: CC BY-NC-ND 4.0. Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
    Picture by Simon Dawson. HM Treasury photostream on Flickr. License: CC BY-NC-ND 4.0. Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

    Chancellor Rachel Reeve’s budget has done nothing to assuage the fears of the Grassroots Music sector. Take the following quotes:

    “While headline figures for the UK music industry look strong, grassroots and independent businesses and entrepreneurs are under strain”

     – Gee Davy, CEO Association of Independent Music

    “This Budget is yet another episode in the long-running saga of failures to seize opportunities to support grassroots music venues”

    – Mark Davyd, CEO Music Venue Trust

    Both quoted in today’s article at Music Week.

    But the most aggrieved is Rachel Brown at Northern Exposure:

    “I clocked it the second Starmer started spouting bollocks about backing the music scene, it was always gonna be hot air and fuck all else”

    – Rachel Brown, Northen Exposure

    You can read the whole article below.

  • MVT Statement on the November Budget Announcement and November Newsletter

    The Music Venue Trust are not impressed by today’s budget. Despite lots of discussions and roadshows where the Government fan-led review has gone out to the people across the country, the country’s chief accountant* has done nothing for the grassroots music ecosystem.

    * Sorry, she doesn’t have the vision to be called an economist. This is not a slur on her as a female. I think it’s about time we had a female chancellor, but she’s not a Keynes or a Friedman, she’s just balancing the books, like an accountant.

  • Manchester Music In The City 2024 Final Research Report

    Manchester has produced a report which details recommendations to support the Grassroots Music scene. You can download the report HERE.

    It covers four pillars of action:

    1. Ecosystem development with long-term investment
    2. Marketing and Audience development 
    3. Innovation
    4. Council Policy, Structures and Processes

     

  • In Conversation with the Venue Support Team for Scotland & Wales – Episode 11, The Last Safe Space

    The Last Safe Space a straight-talking, data-driven podcast from Music Venue Trust. Each episode breaks down the biggest news affecting the UK’s grassroots music venues – from government policy to local wins, campaigns, crisis cases, and how you can take action to support live music.

    In this episode: Toni speaks with Stina and Aled about the current pressures, regional strengths, and emerging opportunities shaping grassroots venues across Scotland and Wales, from licensing and planning issues to ethics, accessibility, and community-led support.

    Disclaimer: All data is correct on the date of filming 16/10/2025

    Join the Supporters Circle: https://save-our-venues.backstreetmerch.com/collections/membership

    Learn more about our work: https://www.musicvenuetrust.com

    Podcast: Play in new window | Download (Duration: 18:47 — 13.0MB)

  • TDZ#292… Live To Love Dub…

    Live To Love Dub… with tracks by… Massive Dub Corporation, Kingly T,Claudette King, Manwel T, Crête & Moustache, Shanks, Dub Spencer, Trance Hill, MyDubz x Dub Idren, DJ Saeg, Dubmatix

    Podcast: Play in new window | Download (Duration: 36:35 — 33.7MB)

    • 00:00:00  Massive Dub Corporation – Monir Logical [ODG]
    • 00:03:18  Kingly T & Claudette King – Live To Love Dub (Manwel T Mix)
    • 00:07:05  Crête & Moustache – Nomade (Live Session Edit) [ODG]
    • 00:11:55  Shanks – Shamizen Melodies [Culture Dub Records]
    • 00:16:37  Dub Spencer & Trance Hill – Full Time Dub [RDX Promo]
    • 00:22:12  MyDubz x Dub Idren – Black Desert [Dubophonic]
    • 00:25:47  DJ Saeg – Anahuaca Dub [Culture Dub Records]
    • 00:30:19  Dubmatix – Echoes In The Smoke

    This podcast is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC-NT-NC-ND 4.0) License

  • Reselling gig tickets for profit outlawed

    Various articles, including this one in the Guardian talk about this.

    I’ve only ever sold a gig ticket once and it was for the face value (minus the booking fee, I might add) which was fine by me.

    Resale platforms, such as StubHub and Viagogo, will be legally liable if sellers do not comply with the law. This also applies to Social Media selling.

    Lets hope this stamps out the touts and makes it easier for true fans to get the tickets they want (and can afford).

  • The Room Where It Happens

    A substack piece from Mark Davyd, based on a Drowned In Sound article by Emma Wilkes. Plus my own comments below:

    The Room Where It Happens by Mark Davyd

    A short guide to why nobody at your local Grassroots Music Venue is keen to tell you when anything starts

    Read on Substack

    I read the Drowned In Sound newsletter with interest. As I’m frequently one of the guys that arrive at the gig before everyone else I do want to know there will be something worth experiencing when I get there. At a recent festival in Brighton I arrived exactly on time and was told the first band would be on 90 minutes later. I had a nice 10 minute chat with the promoter, but then I was left waiting alone and bored. I eventually took a long walk around the city and returned, still in the minority before the first act.

    In a city where all the drinks cost above the national average either in a pub or a venue, I don’t think the audience are pre-loading at a pub around the corner. It’s just they can’t be bothered to see the support band.

    You’d have thought that there would be many, many bands who would love to take the opening slot, but, for some reason, they don’t get the opportunity. Yet, I’ve seen some bands perform 2 or 3 times as support in different venues in the course of a week. Why would you turn up early to see the same band for the 6th time? Yet, I have been there. Maybe that’s a topic for another day.

    I’ve seen this week reports that Liverpool’s Jacaranda has now cut the price of alcohol at the start of the evening to “Support the supports”. This is a great idea. I love your ideas of a comedian, a DJ or a short film. It certainly beats waiting on your own or walking around the city to kill time. They might even buy an extra drink!

    Also I need to know when the gig ends because I need to judge whether I can enjoy all of the headliner’s set or, faced with an increasing number of cancelled trains, make a break for it and get home before midnight. Recent festivals I’ve been to have put headliners on at 1am, but don’t start early. Not only does this piss off the out-of-town regulars like me, but it means the headliners have a dramatically reduced crowd, and associated atmosphere.

    So, promoters: please start on time and finish early. There will be more time for the band to sell merchandise, for the punters to have one-for-the-road, and for the out-of-town folk to know they’ve been listened to, for once.

  • Part two of Mutations Festival Review

    Part Two of a review of last weekend’s festival from Brighton and Hove News