UK Music recently published their Here, There and Everywhere report.
It looks at the struggles faced during and after the pandemic. These numbers provide a basis for the report, which highlights what is happening in music scenes across the U.K.
Elsewhere, the UK Music report introduces the concept of ‘Musical Tourists’. This is a way of capturing people who travel outside of their commute — both in the country and from abroad — to sample the rich tapestry of culture Britain has on offer.
Finally, Here, There and Everywhere delivers case studies on several initiatives set up across the country. There’s a lot to go at here. So, we’ve combed through the report to deliver 5 key takeaways.
Regional areas lead the way for youth music initiatives
Our music scene in the U.K. is one of the best. But high-quality live performances and dazzling stage shows are born from easily-accessible, community-driven initiatives. These schemes introduce future headliners to music in the first place, and we’re seeing that happen in regions outside the capital.
Here, There and Everywhere reports that East England’s Noise Innovation and the East Midlands’ Leicestershire Music Hub are providing spaces for young people to engage with music. Noise Innovation gives at-risk young people an outlet to learn and create music in a genre of their choosing, with access to a music professional and high-quality equipment.
The Leicestershire Music Hub creates new and innovative digital resources for young people, introducing them to a range of genres, such as traditional Asian and African Music.
Empowering local artists is crucial to igniting culture
As we said earlier, local music is intrinsic to developing the high-quality music scene the U.K. has today.
But giving the power to local musicians can also help improve the cultural scene in British towns and cities.
The UK Music report details how the closed-down council-owned Binns Department Store in Sunderland was converted into a music-led creative hub, with local music shop and record label Pop Recs at the forefront.
The complex provides a skills hub for wider creative people, a cafe and a music venue.
It’s something promoters and creative people can achieve in their own areas. The report says it’s about joining the dots, so a group of like-minded people could come together if the space is available.
But financial difficulties are still a threat to local music scenes
While these schemes and initiatives show that great work is being done in local areas, venues are very much still at risk.
The report shows the hangover from the pandemic. By showing stats from The Music Venue Trust, it tells us that “Since the start of 2023… one music venue is closing every week”.
So, by showing this, the UK Music report sets the scene for what needs to be done. Protecting infrastructures, building new outlets and finding innovative ways to provide music to young people and people in towns and cities across the U.K
Northern Ireland and Wales are looking back to look forward
Wales has a rich history of Welsh-speaking bands and artists. The report shines a light on Dydd Miwsig Cymru (Welsh Language Day), which aims to introduce Welsh language music to new audiences.
Businesses have shown support, too. Hosting gigs and sharing Welsh language music playlists across their social media channels.
In Ireland, punk rock, jazz, electronic and choral music are just a few of the genres that have a history in the country.
The report details the work done by the Belfast Music Walking Tour, which takes visitors to a Victorian Music Hall, a record shop and more.
This shows how much value there is when areas look into their history and make an effort to connect with it.
Data is king, even in the music scene
Data and music can feel at odds sometimes. When we’re searching for new musical passions, how many streams or views the artist has isn’t at the forefront of our minds.
But Here, There and Everywhere makes the case for a different type of data.
In the case study section of the UK Music report, the organisation highlights Cardiff’s music strategy. Published in 2019, it compiled data that looked at the state of the city’s music industry and eco-system, which was then given to the council to inform decisions on future music initiatives. The report describes this as a ‘data baseline’.
It shows that promoters, event industry experts and people interested in music can use numbers to back up a project they’re interested in doing. In turn, that data can provide a picture of what needs to be achieved.
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