As we head towards the end of 2024, it is a good time to reflect on LIVE’s achievements this year and just how far we have come since we were established, at great speed, in response to lockdown. Building on that excellent early work, under the stewardship of Greg Parmley, LIVE established a framework and a network that places us at the heart of all things to do with the UK live music sector.
Through our member associations, expert groups and ad hoc engagement, LIVE is able to quickly establish, distil and present a holistic sector view on issues as diverse as ticketing and terrorism, touring and tax. The LIVE team have worked tirelessly to use the strength, depth and breadth of our membership to register with policymakers that live music is economically significant, socially progressive and a true bringer of joy. While still a small team, we have engaged with multiple government departments, international agencies, the media and subject matter experts in support of our primary goal – to ensure that LIVE is the first contact for policymakers when considering anything relevant to our sector. A quick look back at the year shows so many highlights:
January: worked with Black Lives in Music on a roundtable to gather the experiences of live music promoters, artists venue operators and festival organisers as part of Project REMEL, LIVE’s efforts alongside BLiM, the Musicians’ Union and the Greater London Authority to tackle racial inequality in how our sector is licensed and policed. In addition, LIVE led a roundtable with STAR and their ticket agent members, chaired a session at the ABO conference and worked with multiple partners including Young Voices and Earth/Percent.
February: hosted a ministerial visit to the 1975’s carbon removed gigs at the O2 … a world first that made clear to government our commitment to delivering significant advances in sustainability. Across the month, LIVE also chaired the international trade association summit at ILMC, presented to the MMF board, worked with the Department of Business and Trade on export sessions, presented to the CPA AGM, briefed the Home Secretary’s special adviser on Martyn’s Law and worked with the GLA on venue safety.
March: participated in the launch of ‘Creating Growth’ with the now Prime Minister and Chancellor … establishing Labour’s blueprint for our industry with commitments around, amongst other things, ticket touts and EU touring. In addition, LIVE sat on the UK DAG to the UK-EU Trade and Cooperation Agreement and met with senior Labour figures including the Metro Mayor for Greater Manchester and the then Shadow Culture Secretary.
April: appointed Ross Patel as LIVE Green Impact Consultant, a new role that allowed us to accelerate our work in this most crucial of areas. In addition, LIVE worked with partners We Make Events, Vision 2025 and Power of Events, inputted into the thinking behind a new music strategy for Manchester and supported colleagues on the Liverpool City Region Music Board in their work on the black music experience in the city.
May: launch of Powered by Freelancers – the Live Music Edition 2024 a first attempt to capture in depth sentiment and pay rates across our critical freelance workers. In addition, the LIVE team crisscrossed the UK representing the sector at Sound City, Focus Wales, The Great Escape and, memorably, a garden party at Buckingham Palace in celebration of the creative industries. Policy wise, we worked with Stamp out Spiking, the UK/EU DAGs, Fanfair, CIISA and held a roundtable for members of The Entertainment Agents Association.
June: a quieter month for external work as the festival season ramped up and policy work was put on hold for the election campaign. LIVE still found multiple opportunities to engage with our partners including Prospect (on freelancers), PRS (on sector representation), the Law Society (on EU touring) and the US Embassy (on shared values).
July: hit the ground with the new government with a raft of ministerial meetings including a lead role in a music industry roundtable with the Culture Minister. In addition, we published LIVE Insights: Audience Research, the fifth wave of our audience research tracking shifting audience behaviour post-lockdown. A first for our sector, LIVE facilitated a wide ranging discussion on the politics and realities of boycotts and sponsorship.
August: LIVE Talks looked to normalise the conversation around Menstruation & Menstrual health in the Music Industry with a brilliant seminar delivered in association with the Musicians’ Union. In addition, LIVE added to its policy portfolio with work on the government’s plans for reform of the apprenticeship levy as part of their commitment to providing us with the skills and training support necessary to facilitate growth.
September: saw publication of LIVE’s annual report, a landmark paper setting out our work and the performance of our sector. Partnering with ILMC’s Futures Forum, LIVE chaired an energising afternoon of quick fire discussions with our LIVE chairs in front of a brilliantly engaged and diverse audience. A busy month also saw LIVE brief Home Office officials on Martyn’s Law, head to Brussels for talks on EU touring and race around Labour conference to meet with politicians and advisers on all manner of issues.
October: the launch of the LIVE Green Clauses moved sustainability ever more central to how we do business. Our participation in Beyond the Music up in Manchester led to a useful one to one meeting with the Culture Secretary and further engagement with the Metro Mayor. LIVE also gave evidence this month to the House of Commons scrutiny committee on the Terrorism (Protection of Premises) Bill with the Home Office Minister thanking us for our constructive engagement. A trip to Paris saw LIVE advancing the argument for EU touring reform while, a raft of partnership work was delivered across boycotts and sponsorship, racial equality, sustainability and mental health.
November: saw LIVE take its seat at the top table of government with participation in a select creative industries roundtable with the Chancellor and Culture Secretary. This was an opportunity to set out LIVE’s key asks if we are to maximise our contribution to the Government’s own ambitions for growth across the UK. In addition, LIVE helped deliver a successful bid to establish Music Futures as the UK’s first creative cluster dedicated to music. We also worked with the team behind Expedition One, an event to mark Liverpool’s declaration as the UN’s first accelerator city for climate action. And further partnership work included briefing the PSA Board, a further TEAA roundtable, multiple slots at the Institute of Licensing annual conference, a double header at UnConvention and great sessions as part of the PLASA AGM.
December: a truly significant moment to end the year as LIVE secured approval from the Charity Commission for the creation of the LIVE Trust – a focal point for our industry’s work in support of the grassroots (venues, artists, promoters, festivals etc). This month also saw further government engagement with a first ministerial roundtable dedicated to live music, a LIVE Touring meeting addressed by three departments and dedicated sessions with Skills England. All topped off with our most successful LIVE Awards to date.
All in all, a busy, productive and successful year of progress, development and achievement. LIVE has a track record of delivering for our industry though current and emerging challenges make clear the need for LIVE to deliver further. None of this would be possible without the funding and support of businesses and organisations across our sector.
The last three years have shown what we can achieve if we work together. Excitingly, that is only the start. LIVE has a place at the top table of Government, a Government taking our industry more seriously than ever.
From all at LIVE, here’s to a relaxing break over Christmas and New Year. 2025 is going to be another busy one in our venues and fields, for our artists, their teams and the wider industry.