Pete Cogle. Podcaster & Grassroots Music Advocate

Latest News & Podcasts

  • Touring art exhibition “The Boy With a Leg Named Brian” comes to The Green Door Store, Brighton

    This is a good idea.  Using a Grassroots Music Venue for more than just a gig. You can come and see the free art installation during the day (maybe buy a drink while you’re there!) and then see the artist’s band in the evening.

  • Music Venue Trust Warns Scottish Venues Face Closure Without Business Rates Action

    Scottish venues are around three times more likely than those in England to face increases of 50 per cent or more in their rates payable. The MVT warns that, without intervention, these increases will lead directly to venue closures.

  • Meeting My Tribe

    Chris Sherrington  Clara Cullen

    Last night I spent a happy hour at a Members Forum with Chris Sherrington and Clara Cullen from Music Venue Properties, along with other people, such as myself, who had invested in the Own Our Venues 2025 campaign. Although they were unable to tell us whether any more venues have been secured at the current time, Chris did say their were 4 offers in place with the current owners. That’s really encouraging news.

    Clara commented that she really enjoyed these meetups as it did prove that the folks that work for MVT and MVP are not isolated. There are in fact a whole tribe of people who care about the GMV ecosystem. 

    We had a good chat about publishing set times, the Venue MOT initiative, the Off The Grid Initiative, along with future T-shirts and a possible MVP version of “Monopoly”. 

  • Plans for BBC6 Music 1980s – 2010s Indie Stream


    The BBC have just announced plans to launch a new extension for indie fans, available to stream 24 hours a day, only on BBC Sounds. The stream will be dedicated to the biggest and best indie rock and pop from the 1980s – 2010s.

    Whilst I can understand the core BBC6 Music fans are people my age, many of whom believe that music was best before 2010 (or insert your own date here) I can’t understand why anyone would want to intentionally limit their listening to a narrow-band of programming. It’s just pandering to old people who are unable to move on from the music of their youth and is mimicking the approaches of other “smooth”, “classic” or “rock” oriented radio.

    Obviously the main BBC6 Music station will continue to cover newer music, which is just as well, or I’d be forced to write a strongly worded letter to the Director General!

    – Mildly Irritated of West Sussex

     

     

  • The Great Escape announce 130+ artists to the 2026 lineup

    Some bands I’ve seen before and loads of bands I have not. I’d better start listening. It’s the 20 years since the festival started in 2006. I’ve been going since 2007.

    The Great Escape 2026 Lineup

  • MVT Venues Day 2026

    Tuesday 17 March 10am – 6pm
    Shoreditch Town Hall, 380 Old Street, London EC1V 9LT
    Price: £192.50
    Tickets HERE.

    If you work for a GMV then you should attend this event.

     

  • What can we do to save independent venues from closure?

    Phoebe Lunny and Jed Morgan discussed on Huw Stephens’ BBC 6Music Roundtable show.

     

    View this post on Instagram

     

    A post shared by BBC Radio 6 Music (@bbc6music)

  • Suffolk and Cool #1

    My podcasting mate Peter Clitheroe released his first episode of his long running show “Suffolk and Cool” 20 Years Ago today. Released only 2 days after I released my first podcast.  From the onset, sounding way more professional than my fledgling efforts,  Peter’s show and mine bumbled along independently, but with increasing intersections like a rather cool Venn diagram. 

    Back in the day we used music we found on the Podsafe Music Network and we registered when we played them. I found Peter was playing the same tracks as myself and, as my family and I regularly holidayed in Suffolk I decided to make contact. We met up for a beer or two in Southwold and you can find that encounter in Podcast #55. We’ve been firm friends ever since.

    But lets go back to the beginning and have a listen to Suffolk and Cool #1.

     

    Podcast: Play in new window | Download (Duration: 27:02 — 24.8MB)

    Here are the shownotes:

    The first show, which features:

    bill “Sound Scientist” – formed in the fall of 2003 when band members and long time friends Curtis Hartling (guitar, vocals, drums), Jonathan Coyle (drums, vocals, keys, guitars) and Dave Marciano (bass, sax, vocals) wanted to do something new in San Diego.

    Upcoming dates include:
    4 Feb 06 SD Sports Club, San Diego
    10 Feb 06 The BLVD, San Marcos
    28 Feb 06 The Casbah, San Diego, CA
    Music purchase and dates at:

    www.billmusic.net

    The Fat Band interview – Suffolk and Cambridge based R&B band of varying size and line-up. The core of the band has been together for 30 years, together they always put together a great show. Line-up generally includes bass, percussion, lead and rhythm guitars, keyboards, a brass section and two lead singers. The band seems ready to recruit backing singers who will have to live with the name “The Fatettes”.
    Interview recorded in a very noisy village hall at Charsfield.

    A bit of a rant about the music business and the benefits of podcasting for musicians and listeners.
    If you’ve got views on this (or anything else in the show) post a comment on this page (use the comments link below), email your response or, best of all send me an audio file which I might be able to include in the next show.

    suffolkandcool@googlemail.com

    Majek Fashek “I am not afraid” – Nigerian reggae artist who meshes Reggae, Rock, Afrobeat, Juju, Kpanngolo and Olokun rythems with nods to the like of Bob Marley, Fela and Jimi Hendrix.
    www.majekfashek.com

    This show includes music from the Podsafe Music Network

     

     

  • It was 20 Years Ago Today….

    Twenty years ago today a very young sounding, rather naïve, 45 year old bloke recorded his first podcast. He’d just been given an iPod for Christmas 2005 and just discovered these things called podcasts on the iTunes website. Finding that some of these podcasts featured independent, hobbyist DJs he decided to throw his own hat in the ring. The rest is history.

    I’ve thought about making a new “best of” podcast to commemorate 20 years since this event took place, but it would be no more than an extended version of podcasts I’ve already created. Instead I’m republishing that first ever podcast. Only 5 tracks, but clearly demonstrating what PCP would become over the years. I hope you enjoy it. I still do.

     

    Podcast: Play in new window | Download (Duration: 22:33 — 20.6MB)

    • What if’s and maybe’s by Bromhead’s Jacket.
      Some Indie from the Sheffield 3 piece band, in the style of the Arctic Monkeys. Nice. From the single “What If’s and Maybe’s” and downloaded from the band’s myspace.
    • Pearls’s Girl by Underworld.
      A classy electronic dance groove from the Album “Second Toughest in the Infants”. This version downloaded from the band’s website around 2004, and taken from the “Blue Mountain” concert
    • Dhol Rinse by Asian Dub Foundation.
      Bhangra style beats from the album “Enemy of the Enemy”. This version downloaded from the band’s website
    • Beauty by A Black City.
      Trip-hop style grooves from Nick Dwyer, based in Brighton. As yet unsigned. This version downloaded from the band’s myspace.
    • Juggernaut by Groundation.
      Roots reggae from the Leicester cult band. This came from a one-off single I picked up at a gig at Leicester Polytechnic in 1981. I’ve loved it ever since. I couldn’t find it anywhere on the internet when I made this podcast in 2006 but it’s now resurfaced on Spotify and Bandcamp.

  • Who are gigs really for anymore?

    Another storm is brewing about the cost of tickets. This week it’s about Harry Styles and his tickets which could be as much as £700 thanks to “Platinum” pricing. OK, so he’s put the £1 Grassroots Music Venue Levy on the tickets, but that’s peanuts in the shape of things.

    But who the hell pays this amount of money? It’s certainly not people like me.

    Who are gigs really for anymore? by Katie Macbeth

    As ticket price soar and grassroots venues disappear, live music is drifting out of reach.

    Read on Substack

  • MVT January 2026 Newsletter

  • MVT Backs New “Ethical” Ticket Resale Platform

    Tickets9 platform, which officially launches today, gives “fans a transparent and ethical resale option that directly supports the spaces where new talent is born”

    Key features of the scheme include ensuring any ticket resale is capped at face value along with booking fees only, proof of purchase will be required for every listing, there will be a £1 per ticket donation on events with a capacity of over 5,000 and there will be a 12 per cent buyer platform fee, ensuring sellers receive full face value plus booking fees.

  • LIVE Trust makes first distribution of £500,000 of the Grassroots Music Levy

    The LIVE Music Trust was launched in January but it’s taken a year to distribute it’s first distribution of funds. This is where it’s going (According to Music Week)

    • Music Venue Support delivered by Music Venue Trust – £200,000
    • UK Artists Touring Fund delivered by Featured Artists Coalition, Music Managers Forum & Musicians’ Union – £125,000
    • Independent Promoters Grassroots Bursary Scheme delivered by the Association of Independent Promoters – £75,000
    • Micro & Very Small Festivals Development Programme delivered by the Association of Independent Festivals – £50,000
    • Volume Control Enhanced delivered by Oh Yeah Centre, Belfast – £25,000
    • Developing Scotland’s Emerging Live Sector delivered by Wide Events – £15,000
    • Music Futures delivered by Production Futures – £10,000

  • UK Grassroots Music Venues to receive business rates discount

    The Government has done a U-Turn and are now offering a 15% cut to business rates in April. Rates will then be frozen for two years. It’s not quite the same as reinstating the business rate relief of 70% from the current 40% but it’s something.

    Mark Davyd from the MVT said:

    “We will be exploring with our Music Venues Alliance venue members if the proposed 15% reduction in rates payable, followed by a freeze for 2 years, is sufficient to manage this crisis.”

     

  • Liverpool launches support programme for grassroots music venues

    Liverpool City Council has launched a new grassroots music venues support programme in partnership with the MVT. Providing:

    1. Financial Support and Talent Development with grants of up to £3,000 per venue or promoter
    2. Business Support and Capacity Building

    Venues and promoters can apply online at https://liverpool.gov.uk/grmv until Friday 13th February 2026 at 12noon.

  • Lotus Unfolding

    I stumbled across Lotus Unfolding by Ozric Tentacles late in 2025 and gave it a good listen. I’ve known about the band for years but never really gave them a thorough listen before. Then I saw they were playing live at Concorde 2 in Brighton, with System 7 as a support band and decided to get a ticket. What an amazing concert!

    Lotus Unfolding is the band’s sixteenth studio album. The album was released on 20 October 2023. Written, recorded and produced by frontman Ed Wynne and his son Silas Neptune on keyboards and synth, Brandi Wynne on bass, and Saskia Maxwell on flute, as well as several other musicians.

  • Independent Music Week – What’s going on Brighton?

    IVW2026

    I’ve attended gigs in Brighton as part of Independent Music Week for a few years now. They’ve always been good gigs as well.  Thus Love, Sprints and M(h)aol at Komedia Studio in 2023 was a particularly memorable one.

    But this year Brighton seems curiously missing from the line up at independentvenueweek.com/uk/. Thankfully The Brunswick at Hove does have Boo Hewerdine playing in the Cellar. I don’t understand why this week is being ignored by Brighton.

     

  • Mark Davyd’s Speech for the Annual Report 2025 Launch

    Mark Davyd’s substack this week just features his speech at the V&A when the MVT Report 2025 was released.

    Two things I like, more than anyone else

    1. Mark is getting angry. Good. We all need to get f*cking angry with people that get in the way: Government, Planners, LIVE Nation. People who say it cannot be done should get out of the way of the people doing it.
    2. It’s working. Harry Styles’ Wembley gigs include the £1 Grassroots Music Levy. Now all the LIVE Nation shows should follow suit.

    A Speech for the Annual Report 2025 Launch by Mark Davyd

    That’s right fact fans… just for once this column doesn’t have an obscure song title as some sort of nerd test before you get to read it. Here’s the speech I gave at the V&A Museum this week.

    Read on Substack

  • 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

    *CORRECTION: Blane McNab, Bar and Operations Manager, at The Court House Bangor wrote the report mentioned in this episode on reusable plastic cups*

    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

    Podcast: Play in new window | Download (Duration: 27:04 — 18.6MB)

  • 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

    Podcast: Play in new window | Download (Duration: 36:43 — 25.2MB)

  • 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