{"id":28052,"date":"2026-11-13T13:48:42","date_gmt":"2026-11-13T13:48:42","guid":{"rendered":"https:\/\/interspacemusic.com\/blog\/music-venue-trust-ceo-calls-for-changes-to-grassroots-venue-economics\/"},"modified":"2026-11-13T13:48:42","modified_gmt":"2026-11-13T13:48:42","slug":"music-venue-trust-ceo-calls-for-changes-to-grassroots-venue-economics","status":"publish","type":"post","link":"https:\/\/interspacemusic.com\/blog\/music-venue-trust-ceo-calls-for-changes-to-grassroots-venue-economics\/","title":{"rendered":"Music Venue Trust CEO Calls for Changes to Grassroots Venue Economics"},"content":{"rendered":"<p><strong><a href=\"https:\/\/www.musicvenuetrust.com\/\">Music Venue Trust<\/a><\/strong> CEO <strong>Mark Davyd<\/strong> says grassroots venues and touring artists face linked financial pressures that are keeping shows from taking place. The charity\u2019s <strong>Liveline<\/strong> programme aims to make those shows possible by covering financial risks that venues, promoters or artists cannot take on.<\/p>\n<h2>Pressure on venues and artists<\/h2>\n<p>Figures discussed with Davyd put the average grassroots venue\u2019s profit margin at <strong>2.5%<\/strong>, with more than half making no profit. Davyd argues that the venues where artists develop and audiences form receive too little financial support from the wider music industry.<\/p>\n<p>He describes rising costs, shrinking margins and <a href=\"https:\/\/interspacemusic.com\/blog\/venue-shortage-limits-international-touring-growth\/\">fewer opportunities for touring artists and venues alike<\/a>. When artists cannot afford to tour and venues cannot afford to book them, audiences also lose access to live performances.<\/p>\n<p><a href=\"https:\/\/www.musicvenuetrust.com\/\">Music Venue Trust<\/a> is a UK registered charity founded in January 2014 to protect and improve grassroots music venues in England, Scotland, Wales and Northern Ireland. Its work includes the Everywhere at Once festival, a weekend of independent music involving hundreds of venues from Inverness to Penzance.<\/p>\n<h2>How Liveline supports shows<\/h2>\n<p>Liveline identifies shows that are unlikely to happen because the financial risk is too high, then steps in to cover that risk. Davyd gave three examples:<\/p>\n<ul>\n<li>A venue cannot guarantee an artist\u2019s fee.<\/li>\n<li>A promoter faces a shortfall.<\/li>\n<li>A touring artist cannot make a show financially viable.<\/li>\n<\/ul>\n<p>Davyd says the programme is intended to enable shows with a sound basis that current costs prevent from going ahead. He says each show can create work for artists, promoters, venues and crew while giving audiences access to live music.<\/p>\n<h2>Rebuilding local music scenes<\/h2>\n<p><strong>175 UK towns and cities<\/strong> have lost regular professional touring. Davyd says developing local artists, promoters and audiences could help make touring viable in those places again.<\/p>\n<p>He also questions how live music revenue is distributed. In discussing ticket prices, he contrasted \u00a3100-plus arena tickets with expectations that a show by an emerging band in a 200-capacity room should cost \u00a310. He said some fans will pay \u00a3150 to watch an artist on a screen from 100 metres away while questioning a \u00a310 ticket to see an artist from three feet away, though grassroots audiences are often younger and have less disposable income.<\/p>\n<p>Davyd pointed to planning protections, community ownership of venue buildings, touring support and investment from more successful parts of the industry as approaches that could be used beyond the UK.<\/p>\n","protected":false},"excerpt":{"rendered":"Music Venue Trust CEO Mark Davyd says financial pressure on venues and touring artists requires support across the live music 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