Our Gig Yap Experiment

Something fun to try.

drownedinsound.org

A Portishead And A Sleaford Mod Made A Movie

Each week I talk to someone about music and everything it drags with it (usually that's a side order of politics and a glimpse at a better world).

drownedinsound.org

Los Campesinos! Part! Two! On Class, Privilege, And The Economics Of Bands vs Solo Artists

Podcast Episode · Drowned in Sound · June 4 · 49m

apple.co

Los Campesinos!

"I could be saving these bands so much money," quips Gareth from indie-leg-ends Los Campesinos! during his chat with Helena Wadia and I about the economics of being a band in 2026. We natter about merch, the joy of his touring family, Spotify, touring, class, privilege and why thinks someone should check in Ed Sheeran... Part 2 of the pod-chat is now live wherever you get your podcasts. 🎧 Apple Podcasts | Other Platforms SPONSORED Los Campesinos! A selection of DiS podcast new co-host Helena's favourite ****Los Camp!**** songs to soundtrack our latest episode of the DiS Podcast with lead singer ****Gareth David****. Get a free trial of Qobuz

drownedinsound.org

Do we really need new arenas in the UK?

In this week's Drowned in Sound newsletter: * **Track Of The Week** is sure to satisfy fans of both electronica and punk * Find out about the legal case that's improving **accessibility at major festivals** * Missy Dabice from **Mannequin Pussy** asks Spotify to chat * Plus news on Trump getting involved with Live Nation, Milton Keynes council doing something great, and a rally against the far right. * But first, Emma examines whether the handful of new arenas in the UK could succeed or fail, or if we really need them * * * ## Arenageddon: Are all these new venues necessary? As much as I love live music with every fibre of my being, something is making me cynical. In the last couple of weeks, there's been a run of news stories about a new crop of arenas being constructed across the country. First, there was some movement on long-delayed arena The Sage in Gateshead (not to be confused with The Glasshouse, which used to be called the Sage), followed last week by confirmation of the opening programme for the new British Airways ARC venue in west London at the Olympia, which opens in June. Several new arenas are slated to open in the next few years across the UK, following the trend set by the now-frequently visited Co-Op Live in Manchester almost two years ago (once it ironed out its many kinks in its ill-fated first weeks of operation.) A glossy event took place last month to unveil the forthcoming Aviva Arena in Bristol, which is opening in 2028 in the same year as another new arena in Cardiff Bay. In some ways, development of all these arenas could seem like a harbinger of good things – more jobs, more money flowing around local economies, and of course, more gigs. These are all valid benefits. Greater access to larger gigs is certainly a bonus, especially for younger families who are likelier to give their kids their first concert in a larger arena with seats than in a club venue. It’s indicative of the capital behind live music events being greater than ever, and as we already know, megagigs can get a certain type of business person to have vivid visions of overflowing bank accounts. The numbers back it up: in 2025, The O2 had its busiest year ever, hosting 239 gigs. AEG’s UK touring and festivals arm AEG Presents posted turnover of around £340 million in its latest financial year. When it comes to how _necessary_ some of these venues are, the mileage may vary. Building an arena in Bristol has been floated for years, and knowing how rich the music culture is there, it’s rather surprising to think that it doesn’t have its own arena. Instead, gig-goers in that area of the country have usually had to schlep over the Severn Bridge to the arena in Cardiff, if a tour makes it there. More arenas could help pull music’s centre of gravity away from London. By contrast, the redeeming purpose of the 3,800-capacity British Airways ARC is a little less obvious. At a punt, it’s locationally filling the hole the famed Earl’s Court left when it closed in 2014. While west London’s not buzzing with gigs as much as, say, north or especially east, did we need another corporate-sponsored venue when the capital does just fine with similar-sized spots like the Roundhouse, Troxy, or Brixton Academy? The other question is one of being fit for purpose, or whether these developments are conducive to moving with the times. With the way live music is drifting, these arenas could well be standing empty for longer than intended. The cost of putting on large-scale events has already exploded in recent years, and that effect will continue, especially as soaring property taxes could double some arenas' bills. The knock-on effects from the war in Iran could be profound, adding to these ballooning prices - it's not cheap to power these huge halls. It’s one reason cited for the biggest artists pivoting away from large scale touring towards residencies in one or two particular venues, a decision taken in recent times by artists such as Harry Styles and Ariana Grande. Not every artist will choose this route, but it does diminish the hope of, say, bringing Sabrina Carpenter to Gateshead or Chappell Roan to Sunderland, especially when UK tours have been curtailed and arena tours might only encompass 3-6 dates, or just take in Manchester and London. Will these arenas have packed live music programmes or a line-up mostly of comedians and Disney On Ice? The other potential downfall is if these new arenas continue to tip the balance of the live music industry in the wrong direction with regard to the interplay between large-scale corporate events and the grassroots sector. Already we have a climate where megagigs flourish and the grassroots sector has struggled, and what would be the point of allowing the former while the talent pipeline is suffocated? In 2023, Music Venue Trust CEO Mark Davyd cautioned that no arenas should be allowed to open until the £1 grassroots levy became normalised, understanding that it was pointless if the top should bloom while the roots withered. This is, of course, still a theory. Davyd's warning was given three years ago and the dial has started to move. There’s more hope in his messaging than there ever has been this side of the pandemic, to the point where this year’s annual report was the “least worst” issued since lockdown. By 2028, the landscape might be a better one in which a flourishing grassroots sector and a booming arena sector can support each other on equal terms. Of course, that remains to be seen, and the game can change far more and in different ways than we could ever foresee. Music Venue Trust Calls Out Live NationThe state of grassroots music in the spotlight + track of the week + news Aphex newsDrowned in SoundEmma Wilkes I’m never going to write off arena shows. I’ve been to two – Biffy Clyro and Deftones – already this year; I’d be a hypocrite to do so. Maybe by the time these arenas open, my cynicism could evaporate if we have a better climate to keep filling them, both with artists and punters. A less hostile environment for culture is something I could never be cynical about. * * * ### Related Watch On the DiS podcast, Sean recently met Jack from The Ticket Bank, who aim to get more people who are on benefits into live shows * * * ### Track Of The Week ## 'What Is She For?' by CLT DRP CLT DRP's music could come stamped with a guarantee that you've never heard riffs quite like these before. Wonkier, techier and more idiosyncratic than punk but with a more organic feel than electronic music, theirs is a thought-provoking, groove-inducing Frankenstein of sounds. Equally unique is Annie Dorrett's vocals, delivered first in a mocking purr, and then they sing-speaks their lines almost like in a play. Equally compelling is this song's message, which centers around resisting the constraints and expectations of conforming to traditional gender roles. It's a laundry list of nagging microaggressions - '_Token checklist/Feels more like sport'_ , '_Just stop yelling/It might work out_.' It goes beyond the binary too. Something about a non-binary vocalist singing _'What is a woman/What is she for?' -_ a notorious TERF dogwhistle _-_ feels, consciously or not, like an especially delicious declaration of defiance. If you like what you've heard, CLT DRP will also be performing at Bulletproof, the new London festival, we are partnering with, in June. Drowned In Sound partners with Jeremy Corbyn’s new festival BulletproofMaruja, Sprints, and many more are playing a new festival in London celebrating community in music and independent venuesDrowned in SoundEmma Wilkes * * * ## Milton Keynes Council backs its grassroots music venues It might be roundly mocked for its strange American roads, but Milton Keynes does have a decent pull when it comes to grassroots venues. The local council has now stepped up and recognised the cultural power of its live music establishments, offering £40,000. Perhaps the best known grassroots venue is the Crauford Arms, who'll be using support to fund a programme of live showcases for local talent. Also receiving money are MK11, who are putting on a series of free entry gigs; Unit Nine, who are using it to power their FUTURE SOUNDS events, and The Stables. It's a great move affirming the value of local live music, and we hope to see more councils doing the same. * * * ## Donald Trump gets his hands in the Live Nation case It's transpired that Donald Trump had a hand in getting a settlement in the Live Nation antitrust lawsuit. He reportedly pushed the US Department of Justice to reach a settlement with the concert giant which made the headlines earlier this month - not that everyone necessarily agrees. Over 30 US states have refused to sign up to the settlement agreement, believing that it does not go far enough to address monopoly concerns or lower prices. As I outlined a couple of weeks ago, helpful reforms to Live Nation's structure have taken place, but the effect remains unknown. Who knows would could have happened if the lawsuit had continued - could we have seen the break-up of Live Nation and Ticketmaster? And if Kid Rock's still not pleased either, that says rather a lot. Can we fix ticketing by fixing one company?How do you solve a problem like Live Nation? The concert giant faced an antitrust lawsuit this week which it has since settled - but how did we get here?Drowned in SoundEmma Wilkes * * * ## Missy Dabice asks Spotify for a chat What do you do when a streaming service churning out AI slop puts your band on a billboard? Mannequin Pussy's Missy Dabice handled it beautifully. As excited as she was to see her name - and uncensored band name - on a billboard celebrating women in punk on Spotify, she eloquently and gracefully took the opportunity to hold the streamer accountable and invited them to open up a dialogue. "In the spirit of multiple things being true, I wouldn’t be the kind of ~woman in punk~ I am without also having something to say," she wrote on Instagram. "Spotify - while I have your attention and in a few weeks where I’m told I’ve been invited into your house for a roundtable talk- I’d love to start having a real conversation with whoever I can at the company about what you plan to do about AI fraud on the platform, the proliferation of how non artists can take advantage of the lack of regulation on the platform and how they are contributing to the increased potential that music streaming sites such as yours are targets of cultural grifting. "Just over the weekend a man in NC plead guilty to defrauding streaming services of over $10 million in royalties after he flooded the sites with thousands of slop songs and was able to amass 600,000 daily streams by using automated bots to artificially inflate the streams to over a BILLION PLAYS. "How do we continue to make the service better for working artists and how do we continue to champion working artists beyond a billboard? I look forward to our conversation. This, plus many other areas of concern I have, is too big an issue for an IG caption but trust I’m looking forward to our conversation with questions and an open mind." SPONSORED Artists Calling Out AI: On this week's podcast companion playlist powered by Qobuz, we feature artists who have spoken up or spoken out about the impact AI is having on music. TRY QOBUZ FOR FREE * * * ## Legal action brings big wins for disabled festivalgoers It's not just the US Department Of Justice levelling action against Live Nation - did you know that our Equality and Human Rights Commission did the same? This took place following media reports of accessibility issues at Wireless 2022 and Download 2023, which are operated by the Live Nation-owned promoter Festival Republic. Fans had reported problems being able to see the stage, a lack of accessible toilets, and having their disabilities questioned by event staff. The EHRC then used its enforcement powers to enter a legally-binding Section 23 agreement with Live Nation and ensure it improved accessibility at its festivals. The measures Live Nation took include improved accessibility guides for its festivals, compulsory organisation-wide disability awareness and inclusion training, introducing sensory calm spaces and distributing post-event surveys to fans for feedback. * * * ## Get ready for Together Against The Far Right I've seen this protest all over my feed for the last few months, and if that translates into huge numbers, we're in for something extremely promising. The Together Against The Far Right march takes place in central London this weekend, starting at Park Lane at 12pm. Music is going to play a large role, with names like Leigh-Anne Pinnock, Fontaines DC, Paloma Faith, Paul Weller, Charlotte Church, Brian Eno and many other good eggs getting involved. Find out more about the Together Alliance here

drownedinsound.org

Extra! Extra! Read all about it!

_We're going to experiment with a few more newsletters than usual this week, partly to break things up a bit. Let us know if it's too much or a good idea or whatevs.. To kick things off, here's a little round up of some news stories we thought might be of interest from Eurovision boycotts to a must-see video message by Phoebe Lunny from Lambrini Girls._ ### It's squeaky bum time for Live Nation There's been another twist in the Live Nation court saga after a federal jury in New York City found on Wednesday that Live Nation has been illegally operating as a monopoly and overcharging fans. The US Department of Justice's legal counsel said the firm's practices had squeezed out competition and pushed up ticket prices, while also making customer service worse. Previously, the DoJ lawyer David E. Dahlquist suggested in his argument that Ticketmaster’s technology is “held together by duct tape” because the lack of competition meant that Live Nation was unconcerned with making the site efficient enough to work smoothly. This likely increases the chances of Live Nation and Ticketmaster, which merged in 2010, being forcibly split up. In addition, they could also potentially be compelled to divest parts of the business. "The jury's verdict is not the last word on this matter," Live Nation said in response and emphasised that other pending motions that could alter the outcome of the case, it said. Throughout the trial, they have argued that it was not a monopoly and that competition in the ticketing market was fiercer than ever. Can we fix ticketing by fixing one company?How do you solve a problem like Live Nation? The concert giant faced an antitrust lawsuit this week which it has since settled - but how did we get here?Drowned in SoundEmma Wilkes ### The fight to save Battery Studios is on Once again, more cultural infrastructure has been placed at risk by corporate greed. The Willesden, London-based Battery Studios is facing the threat of demolition and redevelopment into flats, prompting the creation of a petition to save it. The owners have pointed out that recording studios and creative spaces are “being lost at an alarming rate” across the country and that demolishing and rebuilding spaces “carries a far greater carbon cost than preserving and modernising existing structures”. The statement says: > “Importantly, there is strong precedent for protecting studios and creative spaces like this. Allowing this demolition would go against that progress and send the wrong message about how we value our cultural assets. We urge the council to reject this proposal and instead support the preservation and continued use of Battery Studios as a world-class creative facility.” A wealth of hugely significant albums have been recorded there, such as Iron Maiden‘s _Killers_(1981) and _The Number of the Beast_ (1982), Talk Talk‘s _The Colour Of Spring_ (1986), The Cars‘ _Heartbeat City’_(1984) and Skunk Anansie's _Paranoid & Sunburnt_ (1995). Sign the PetitionSave Battery Studios – Protect the Future of UK MusicChange.org ### No Music For Genocide turns its hand to a Eurovision boycott campaign Credit: No Music For Genocide Israel's continued inclusion in Eurovision in the last few years has cast a huge shadow over the last few editions of the annual singing competition, and this year's event is already on track to become the most politically-charged yet - ironic for a competition that constantly tries to wash its hands of politics but never truly does so. Five countries - Spain, Iceland, Ireland, the Netherlands and Slovenia - are refusing to participate and Spain has now declared it won't broadcast the contest at all. Given Spain is one of 'The Big Five', this is hugely significant. While previous boycott campaigns have taken place in the last couple of years, 2026 is the year it gets even bigger. No Music For Genocide, who organised the campaign for artists to geo-block their music in Israel, is leading a huge campaign backed by the BDS movement encouraging fans not to get involved with Eurovision this year. They have issued an open letter calling for Israel to be banned from the contest, questioning why it hasn't faced the treatment as Russia, who was banned for invading Ukraine in 2022. The letter has been signed by artists including Brian Eno, Massive Attack, Paloma Faith, Paul Weller, Hot Chip, Of Monsters and Men, IDLES, Primal Scream, Sigur Rós, Young Fathers, Mogwai, Black Country New Road, Erika de Casier, Nadine Shah, Dry Cleaning, Ólafur Arnalds, David Holmes, Nemahsis, Macklemore, Roger Waters, Peter Gabriel, Salute, Vacations, Smerz, Mechatok and Olof Dreijer from The Knife, as well as a number of former Eurovision finalists. > "While many of us in the industry make light of Eurovision or doubt our own power as cultural producers, genocidal Israel’s leaders speak openly about the contest’s geopolitical value. > "NMFG stands with and amplifies the incredible grassroots organizing efforts across Europe to boycott Eurovision until Israel is banned. From PACBI to direct actionists, from Film Workers For Palestine in Hollywood to striking dockworkers in Italy and Morocco, people of conscience around the globe are fighting complicity in every industry for a free Palestine and a freer world”. Sign the No Music For Genocide open letter ### Shambala Festival begins an innovative employee-owned model Is Shambala technically the John Lewis of music festivals now? Not through poshness, of course, but through a change in its business structure meaning it will now be the UK's first employee-owned music festival. “All of us at Shambala have an emotional stake in what we have built over 25 years; now everyone has an ownership stake too,” said co-founder and MD, Chris Johnson. “We would be nothing without our people, and they deserve to carry on the Shambala legacy as beneficiaries. “Shambala stands for independence and, in an increasingly commercialised festival scene, we simply could not sell to venture capitalists or the big promotion companies,” Johnson adds. “While exploring alternative paths, we fell in love with the Employee Ownership model.” Shambala returns to Kelmarsh Hall and Gardens, Northampton, from 27th-30th August. ### Sean weighs in on the fan-led review of live music The Fan-Led Review Of Music was released on Friday, which gathers the thoughts of over 4,000 fans and a series of roundtable discussions about live and electronic music. It includes The Fans' Charter, which contains about 50 recommendations that the government, the industry, and and local authorities should implement. These include measures such as ending ticket touting, improving late night transport and being more transparent about stage times (the debate over which I wrote about last year). You can expect plenty more content digging into the recommendations soon, particularly on the podcast, over the coming weeks. Read the Fan-Led Review of Live & Electronic Music An Important Day for Music FansThe fan-led review of live and electronic music underscores so many of the issues that we’ve written about in this newsletter and discussed on our podcast.Drowned in SoundSean Adams SPONSORED Political Awakenings As a companion to the latest Drowned in Sound podcast introducing our new podcast series Sounds Like Change, we shared a taste of the pilot episode with DiS founder Sean Adams. So for this week's playlist he's shared some of the music that shaped him. ****Explore new music**** in rich Hi-Res lossless quality with Qobuz, and click this link to access a 30-day free trial. Learn more ### The most important video you might see all week? Sometimes it feels like I talk about Lambrini Girls every five seconds in conversations about music that matters right now (Sean can verify this). And now, I'm doing it again. Vocalist and guitarist Phoebe Lunny has just taken part in the Instagram video series A View From A Bridge, where participants share a story on a bridge while holding a red corded phone to their ear. She tells the story of the time she was unexpectedly arrested for attempting to spread the word about an abusive musician in her local scene and the consequences of essentially being punished for trying to do the right thing. “What I think it’s a really good example of is how even laws which are there in place to protect women can be exploited and used for a man’s benefit,” Lunny said. “And I think this is also part of the hugely misogynistic rhetoric which is used by the manosphere, and how they are constantly whining and victimising themselves about the system being stacked up against them, and it’s women’s fault.” “Which is bulls**t, because the system is there to aid and to protect dangerous men, and what I think you see a lot, especially after that Louis Theroux documentary came out, is guys online actively condemning this misogynistic viewpoint, which is amazing and we need that, but if they could put the same amount of passion into actually advocating for women, instead of being like, ‘I’m not like him!’ – what if you actually did something about it? Instead of just letting women be the ones who have to f**king deal with it.” Watch Phoebe Lunny's A View From A Bridge here Why we need to talk about speaking outSpeaking out, reasonably and responsibly, must be made safer. Until then, it needs to be done carefully.Drowned in SoundNina Cresswell

drownedinsound.org

Thank God for the angry women in my headphones

The day Donald Trump was re-elected, I asked myself what I would do if abortion was ever banned in the UK. Chances are, because I’m positive I don’t want children, I would get sterilised. I don’t want to undergo such an invasive procedure, but that to me would be far preferable to the hormone-addled tornado of pregnancy for nine months and a painful childbirth, all for a baby I wouldn’t want to keep. (It would also be inadvisable with another health condition that I have). I should not be asking myself this question. I wonder how many other women and uterus havers have done the same. In the 18 months since, existing as a woman has become even more frightening, even just in the last few months. Some of the news cycle's biggest talking points have been deeply rooted in misogyny - the Epstein files, Louis Theroux's manosphere documentary, most recently the revelation by CNN that an academy for men to learn how to sexually violate women had clocked up 62 million visits. We are furious. We are scared. To say both feel like understatements. Decades of struggle to assert ourselves and be considered equal and we still must endure this. At least the women releasing their fury into our speakers and headphones understand this. They might be separated from us by stages and platforms and fame but they are still us. Thank God for them for saying what we’re thinking and teaching us that it’s not just okay, but it’s vital, to take up space and unleash the anger, the largest and most energetic of all emotions, building up in our systems. Sometimes this anger is personal – I’m a woman who likes guitars, of _course_ I’ve raged to Alanis Morrissette’s ‘You Oughta Know’ when men have let me down. Nowadays, that anger is channeled into music that will soundtrack protests, boycotts and displays of solidarity as we fight back against the erosion of rights and the far-right’s imposition in our politics. I never used to like classifying this as ‘female rage’. Anyone facing this would be angry, so why must it be gendered? Perhaps it was after I saw a male journalist use it and the significance of it altered, almost like it was patronizing. Once I realised this, my stance softened. We deserve to be able to say we feel rage specific to our experience as we move through a world not designed for us. If anything, 'feminine rage' is the less used but better term, one I like to think is more inclusive as it relates to gender expression instead of sex. It also happens to be the stuff of great music. We’re going to get a cascade of songs about the collective incandescence we as women feel about the world, whether relating to misogyny or other equally heinous matters. A few weeks ago, for example, I nominated Lambrini Girls’ ‘Cult Of Celebrity’, about the Epstein files, as Track Of The Week. Sprints’ new single ‘Trickle Down’ was tantamount to a glance into a ravine – _“They’re calling it free speech, it’s free hate, racism disguised as nationalism… oh and did I forget that we're destroying the environment and the fucking world is gonna end?”_ There'll be new names pushing through from the underground whose political songwriting is already resonating with listeners. YAKKIE's debut album _Kill The Cop Inside Your Head_ is stacked with anthems of resistance tackling femicide, whitewashed liberal feminism and internalised oppression with a golden streak of hope. In a darker contrast, Canadian punks PISS' 'live under oak street bridge' session is soul-shaking in its aggression, interspersed with samples including Andrea Dworkin speaking about the violent misogyny of pornography. _"I wanted a way out of my body/To disguise the scent that drew them out_ ," howls vocalist Taylor Zantingh in a tone of wild desperation. There’s even more where they came from. Both of those bands are destined to be looked back on as vital voices soundtracking this period. See also, Mannequin Pussy, Canadian ‘riot-gazers’ Softcult (who play a shoegaze-inflected take on riot grrrl), doom-punks Witch Fever, Die Spitz, Sofia Isella, Amyl and the Sniffers (‘Knifey’ might be the most devastating feminist song I know). Hayley Williams’ musical output is more political than it ever has been. Sometimes their rage is political, sometimes there are softer, more personal moments, but these are women who are unafraid to engage with the world around them and call out its wrongs for what they are. Why does this matter if it’s ‘just music’? Firstly, it’s solace. It reminds us we’re not crazy. Secondly, it’s a reminder that music is freedom, free from the constraints of judgment and tone policing, where women don’t have to seek permission to be as angry as they feel. Perhaps it’s one of the only outlets we have where women can be angry and not be patronised for it or gaslit about it. Under patriarchy, an emotion as loud and powerful as anger is not a woman’s domain, and our anger still isn’t taken seriously. A 2025 article from the New Statesman__ examining the progressive streak among young women in the UK notes that “there is still a prevailing sense that whatever young women are thinking and feeling, it doesn’t matter very much.” It outlines the unhappiness this group feels towards their country, revealing that they are the most pessimistic about the economy and are more likely to say their country is treating them unfairly compared to previous generations. They feel less connected to their country and are more likely than their male counterparts to think the UK is racist. It’s said that young women are “radicalising”, but are we really? We want economic security, our rights to be protected, not eroded - or pitted against those of trans people - climate justice, racial justice, accessibility and fairness. All in all, we don’t want to function within a broken system that doesn’t actually serve us. Radical? Not exactly. I see this being treated with hand-wringing instead of concern. In fact, I even suspect there’s an undertone of fear to it from people who don’t want to see the systems we live in toppled. In fact, Rowan Pelling’s piece in The Telegraph tries to posit that “angry leftie women” present a concern as much as radicalised men do – “It seems that for every male who’s found his mentor in Andrew Tate or the late Charlie Kirk, there’s a young woman who’s been radicalised by Greta Thunberg and Alexandra Ocasio-Cortez.” Comparing one of the most powerful climate activists (and a tremendous advocate for Palestine) to a man peddling extreme misogynist ideology is painfully invalid when the former’s perspective is not only hardly that outlandish but is founded in actual science. Though Pelling writes that she does have some sympathy post-Epstein files and the murder of Sarah Everard in 2021, there’s derision instead of sympathy for women. “If an increasing number of educated young women feel hopeless about the world’s future, hostile towards men, intend to spurn relationships (let alone marriage), declare themselves non-binary and don’t want to have children… then we’re all up Faeces Creek without a paddle.” Half of the items on this list wouldn’t exactly cause society to collapse, not least when it’s so retrograde to consider marriage and children as obligations to society rather than individual choices. But if you see hopelessness and anger, why aren’t you asking why those sentiments exist in the first place? Why don’t you treat the dossier of evidence we have with the consideration it deserves? Amid the existing pain of the modern struggle the women of my generation has, there’s a difficulty just to be listened to. There’s a rush to protect male emotions when we speak of our bad experiences with them than to consider the extent of our own injury. Lambrini Girls vocalist Phoebe Lunny put it best in her brilliant A View From The Bridge video: “It’s 2026 and women are still having to scream at the top of their lungs. One out of three women have been sexually assaulted or will be sexually assaulted in their lifetimes, and we’re all focusing and centering the men still." Songs understand us even when the wider world doesn't. At shows, we're stood shoulder to shoulder with people who have experienced what we've experienced and believe what we believe. Those spaces offer us a means of feeling sane, not to mention a vital means of community building. They bring connection and joy, and perhaps most importantly of all, catharsis. That feeling was exemplified by Mannequin Pussy's recent Tiny Desk session for NPR, in which vocalist Missy Dabice emphasised the necessity of feeling and releasing anger - especially when she led the NPR office in a cathartic primal scream. "Your rage is a part of you and you have to honor it. Give it the space to breathe," she said. She hears us. If only the rest of society would catch up. ## Related reads Why we need to talk about speaking outSpeaking out, reasonably and responsibly, must be made safer. Until then, it needs to be done carefully.Drowned in SoundNina CresswellMisogyny in Music: The NumbersFollowing Eliza Hatch’s appearance on the podcast this week to discuss misogyny in music, we illustrate the scale of the issue in numbersDrowned in SoundEmma Wilkes

drownedinsound.org

What soundtracks social change?

YouTube video by Sounds Like Change

youtu.be

Recommended Reads: From Deftones to Bad Bunny

Grab yourself a cuppa and treat yourself to these recent essays...

drownedinsound.org

Gene Simmons & The Last Gasp of an Old Order

An old world is dying, a new world is waiting to be born. What we see in politics, we sometimes see in music too…

drownedinsound.org

When Boycotts Work

A new pod, a skull-crushing track of the week, mental health, and a massive trans solidarity event.

drownedinsound.org

GIRLI on Fighting Back: Activism, Safeguarding & Turning Rage Into a Rallying Cry

Podcast Episode · Drowned in Sound · 10/02/2026 · 56m

podcasts.apple.com

Drowned In Sound partners with Jeremy Corbyn's new festival Bulletproof

Music can and should be a form of community and resistance. It's connection, it's catharsis, and particularly in a time where creativity has been demonised (or replaced with AI slop), it's rebellion. The sad truth is it's also become an outlet for callous major corporations to artwash their reputations. Look at the US army pouring money into SXSW. Barclays partnered with major festivals in the hopes the consumer looks away from its investments in and financial services provided to companies arming Israel . Festival conglomerate Superstruct faced boycotts over its ties to KKR, a firm that has invested in Israeli tech and data firms and was reportedly connected to weapons manufacturers and defence contractors. See also, Spotify's Daniel Ek funding AI war drones or their recent spate of running ICE adverts to recruit more bootlickers for the Trump regime and spread terror across America. It creates a climate in which artists become disadvantaged simply for doing the right thing, whether facing censorship or a financial black hole from boycotting festivals whose values they don't align with. But what if there was another way? What if music was to reject blood pressure-raising ticket prices and over-corporate environments and choose independence, affordability and political action instead? This is where the brand new Bulletproof Festival comes in, created by the Peace & Justice Project's Music For The Many project. It's been created as a direct response to these existing issues, offering a supportive, politically driven platform for artists to unite people and use their platforms to call for change. On top of this, it's also championing grassroots venues, connecting artists and fans with the rooms that serve as the lifeblood of the UK's touring circuit. ## FREE 7-DAY TRIAL Unlock full access to Drowned in Sound - including in-depth essays, articles from the archive, and behind-the-scenes reporting - with our ****free 7-day trial****. FREE ALL-ACCESS PASS “The very creation of Bulletproof Festival is in itself a challenge to the status quo," said festival organiser Samuel Sweek. "We are showing that communities hold more power than corporations, and that we do not have to believe the lie that sponsorship from the profiteers of war is key to the survival of music festivals. "Our movement has taken down festival sponsorship giants such as Barclays and moved the framing of the debate on the ticket levy to save grassroots music venues. These were phenomenal and unprecedented victories, but there is more to do, and there must always be more to do. "Bulletproof Festival is just the beginning and will serve as the prototype for a new era for the music industry, touring, nurturing the creativity of up-and-coming talent, and ensuring live music is affordable and accessible for all. "This is a revolution and we are proud to be the insurgents.” The Venn diagram between Bulletproof's values and those of Drowned In Sound is essentially one circle. It's how I came to interview Jeremy Corbyn at the launch event in September - and how we have come to jump on board as the festival's media partners. I, for one, could not be more excited. Bulletproof takes place from Thursday 4th to Saturday 6th June across**EartH, The Shacklewell Arms, The Victoria and the Jago** in east London. The event will be headlined by **Maruja**(Thursday),**Sprints** (Friday) and **Pussy Riot: Riot Days -** a powerful fusion of theatre, live music and literature inspired by the memoir of Pussy Riot's Maria Alyokhina****(Saturday). You'll also be able to catch the following: ### Thursday * **CQ Wrestling** * **Soapbox** * **Yard** * **Yakkie** * **Dead Air** * **Gabby Rivers** * **Speit** * **Deva St. John** ### Friday * **CLT DRP** * **Alien Chicks** * **Gender Crisis** * **Ellis D** * **Paradise Fell.** * **Currls** * **Comforts** * **Moskito** * **Chuck SJ** * **Isabella Strange** ### Saturday * **Snayx** * **Jools** * **The Oozes** * **Hongza** * **Room Service** * **Frances Mistry** * **Generation Feral** * **Softtop** The Peace & Justice Project's Jeremy Corbyn added: “We are proud to finally launch the Bulletproof line-up – this is the result of over a year of planning, discussions, research and hard work. "We are delighted that Maruja, SPRINTS and Pussy Riot have agreed to join the inaugural Bulletproof line-up. Each act has a proven track record in speaking out against oppression, and toured the world and grown their support in every continent. It is beyond commendable that, at great cost, these artists have never strayed from the path of fighting tyranny and standing up for what is right. "There have been efforts across the global music industry, and beyond, to suppress and demonise any artist who has spoken up for basic humanity and against the British government’s role in Israeli war crimes, including Kneecap and Bob Vylan. This disturbing pattern must be stopped – and the Bulletproof Festival is celebrating the spirit of resistance that ended apartheid in South Africa and continues to highlight the genocides in Gaza, Sudan and other places.” Tickets are on sale from **Wednesday (11th February) at 11am** - you can buy yours here. ### Related read Jeremy Corbyn on grassroots musicJeremy Corbyn has gone from Leader of the Opposition to a champion of grassroots music - and now, his Peace & Justice project is launching a festival. We ask - how did he come to speak up for a cause few other MPs have?Drowned in SoundEmma Wilkes

drownedinsound.org

A Dose Of Hope In Dark Times

January's album of the month, a speaking songs playlist, and a hopeful podcast.

drownedinsound.org

The joy of witnessing Kate Nash standing in her power

<p>Kate Nash is in the most heroic form of her career right now. Between <a href="https://open.qobuz.com/track/335278296" rel="noreferrer">standing up for trans rights</a> and shouting about grassroots venues from the top deck of a bright red bus, she's become a proud spokesperson for the beleaguered artists holding up the music industry and not getting their fair payout while the suits in offices rake in their bonuses. I think it's punk as hell. If you know me, you'll know that's one of the highest compliments I can give. </p><p>Though she's made headlines in a louder, bolder way in the last couple of years by revealing she'd <a href="https://www.bbc.co.uk/news/articles/cwygdzn4dw4o" rel="noreferrer">turned to OnlyF*ns to subsidise the losses</a> from her <em>9 Sad Symphonies </em>tour, using her platform is nothing new, speaking up has always been a part of her artistry. She's <a href="https://www.femalefirst.co.uk/music/musicnews/Kate+Nash-102914.html" rel="noreferrer">donated instruments to schools</a>, <a href="https://www.bbc.co.uk/news/newsbeat-14501631" rel="noreferrer">assisted in the clean-ups after the 2011 riots</a>, campaigned for more <a href="https://www.independent.co.uk/arts-entertainment/music/news/european-union-festival-lineups-keychange-initiative-kate-nash-eu-a9046531.html" rel="noreferrer">equal gender balances on festival bills</a> and even set about providing better <a href="https://americansongwriter.com/kate-nash-on-glow-cancelation-new-music-and-the-failure-of-the-music-industry-to-respond-to-metoo/" rel="noreferrer">sex education to the music industry through Keychain</a>. </p><p>Now, she's appeared as part of a parliamentary select committee for the <a href="https://committees.parliament.uk/work/9530/state-of-play-performing-arts-touring-in-the-eu/" rel="noreferrer">State Of Play inquiry</a> as part of a session examining performing arts touring in the EU, including the damage that Brexit has enacted on the bank balances of touring musicians. </p><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/HY3U9EMvTEY?feature=oembed" frameborder="0" allowfullscreen title="Kate Nash - Mighty Hoopla Documentary"></iframe></figure><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/ryH5cga0yUI?feature=oembed" frameborder="0" allowfullscreen title="Kate Nash - Foundations"></iframe></figure><p>I was there for the session, where Nash spoke alongside Naomi Pohl of the Musicians' Union (who previously appeared on <a href="https://www.drownedinsound.org/podcasts/" rel="noreferrer">our podcast</a>) and Hanna Madalska-Gayer, Head of Policy and Communications at Association of British Orchestras. </p><p>All three were commanding speakers, conveying the sobering reality of having to drown in paperwork just to get to play in Europe. Bound up in red tape and extra costs, touring in Europe has become significantly less financially viable, with Nash herself admitting she'd lost £26,000 in touring the continent, as well as £13,000 on her last UK tour. </p><p>Nash pointed out:</p><blockquote class="kg-blockquote-alt">"Historically we've been celebrated around the world for our contribution to music. We have fewer opportunities to tour and have opportunities to profit from tours in other countries, I think we're at risk of losing that reputation, that status, that sense of pride in our culture.</blockquote><blockquote class="kg-blockquote-alt">"It will have a knock on effect on the UK economy. The more we limit artists in this sense, the more that we limit UK culture on a global scale."</blockquote><h2 id="what-are-the-main-problems-artists-touring-the-eu-face">What are the main problems artists touring the EU face?</h2><ul><li><strong>Carnets -</strong> You may have heard artists bemoan the bureaucracy of carnets, a customs document that acts like a 'passport for goods' on which artists have to list all their equipment. These are costly, particularly with a security deposit amounting to 30-40 per cent of the value of the items. The introduction of digital carnets also means that if some equipment is broken, an artist has to re-pay for the carnet all over again</li><li><strong>Confusing paperwork</strong> - There is a lack of standardisation in terms of the paperwork required in each EU member state. and a lack of comprehensive information available about it. At worst, innocently missing some necessary paperwork can result in fines. </li><li><strong>The 90/180 day rule</strong> - Spending more than 90 out of every 180 days in the <a href="https://www.gov.uk/travel-to-eu-schengen-area" rel="noreferrer">Schengen area </a>is not allowed without a visa. This is particularly damaging for crew, who might be needed on multiple European tours in a year. In fact, according to Pohl, this rule meant Robbie Williams had to hire a second crew for his European tour and said crew were discouraged from taking holidays in the EU. </li><li><strong>Queues at passport control</strong> - Not only are delays at borders stressful and tiring, they potentially squeeze artists' travel and rehearsal time. At worst, they can mean a band misses a show and loses their fee for the night. It also increases costs by pushing artists to build in extra travel days into their schedule to insulate against lengthy delays. </li></ul><h2 id="how-bad-is-the-state-of-eu-touring">How bad is the state of EU touring?</h2><p>It's bleak. In the <a href="https://musiciansunion.org.uk/news/touring-in-the-eu-post-brexit-key-findings-and-next-steps-from-the-mu-s-recent-survey" rel="noreferrer">Musicians' Union's 2024 survey</a>, 75 per cent of respondents reported a decline in their income from touring Europe and 59 per cent said EU touring was not financially viable. </p><p>Nash also referenced this preventing artists from taking opportunities in the EU, meaning they lose out on opportunities to improve as performers and build their international fanbases. Red tape can affect a tour's entire budget and at worst can involve crew members losing jobs. Nash recalled hearing musicians ask, when looking at all these costs adding up, "What's the point?" </p><p>It also damages the viability of a musician's career full stop. Kate Nash outlined seeing artists selling instruments and possessions to try and stay afloat, as well as taking second jobs. Chances are, she's not the only artist on OF either. </p><p>"I don't think I would be able to have the career that I have if I was starting now," admitted Nash. Later, she asked: "Why is it worse now? It should be better," calling the situation "a massive letdown to this entire country." </p><h2 id="what-can-be-done-about-it">What can be done about it?</h2><ul><li><strong>Renegotiating carnet fees</strong> - The Government might be able to have some control over just how much carnets cost, and the suggestion was made during the meeting that to some extent, they are a money-making exercise</li><li><strong>Clearing the backlog of A1 forms with HMRC</strong> - these are forms confirming someone is still paying National Insurance while working abroad, and more resources are needed to reduce the logjam </li><li><strong>Introducing a touring visa for musicians </strong></li><li><strong>More information available about what paperwork is needed </strong></li></ul><p>"This is a problem that is worth solving," concluded Nash. "Take seriously the people who are making all the money," she added - addressing the industry at large - "if we can profit from our work, we can contribute more and the ecosystem can flourish." </p><h2 id="watch-a-30min-edit-of-kate-nashs-evidence-over-on-our-youtube">Watch A 30min Edit of <strong>Kate Nash's</strong> Evidence Over On <a href="https://youtube.com/@drownedinsound/" rel="noreferrer">Our YouTube</a></h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/3J-Fr9dNcxs?feature=oembed" frameborder="0" allowfullscreen title="Kate Nash vs Brexit: What Really Happened to British Musicians After 2020"></iframe></figure><p>I then caught up with the artist after the hearing, where I asked what her message to Live Nation, Spotify and major labels was after she called them out in her address.</p><p>"You better watch out because I am going direct to the government. A lot of artists have been banging their heads against the wall for a long time," she said. You are not necessarily gonna be included in the conversation at this point because you haven't shown any sort of support or that you're willing to do anything to benefit artists, yet you are profiting off of their work. I ain't giving up and I don't wanna talk to you [pointing at industry]. I wanna talk to them [pointing at Parliament]."</p><p>But what can fans do?</p><p>"I would stop buying crazy VIP packages to arena concerts because I think that's a scam and a waste of your money," Nash advised. "But fans are really supportive already. Staying informed, understanding, and being vocal about the fact that the music industry's a broken ecosystem - making the government realize how seriously people take music can be part of positive change."</p>

drownedinsound.org

Girls Love Techno

A t-shirt slogan, a Welsh village hall, and what’s quietly breaking in live music

drownedinsound.org

The view from Independent Venue Week

<hr /><p><strong>In this week's newsletter:</strong></p><ul><li><strong>Floor-filling rave punk is the order of the day for Track Of The Week</strong></li><li><strong>Inside the business rates relief pubs and live music venues were granted this week</strong></li><li><strong>Could we see more artists cancel their US tours?</strong></li></ul><p>Imagine a room where everyone's jumping as if they had both a shared mind and a shared soul, where a mosh pit has yawned open and very few people are capturing anything on their phones. It's not as rare as it might seem. It's what I took in when I went to the Amersham Arms in New Cross, south-east London on Tuesday night to see Nova Twins put on a stellar showing for just 300 people. </p><p>It's not that dissimilar to where I was almost four years ago, when my 21-year-old self wandered awkwardly around Birmingham's Moor Street trying to find a bus to take to the Castle and Falcon. I'd never been to a gig by myself - and neither had I sat on a bus to get there, to an area of Birmingham that I'm told is not the nicest. These were only small impediments. I was going to see Nova Twins and nobody could tell me I couldn't. </p><p>At the time, the duo had only released one album, and their traction had begun to properly accelerate. It was one of my earliest experiences of grassroots music, and one of the experiences that's aged the best. Now, they're omnipresent, spreading joy and unity wherever they go and calling for change from even bigger stages - and they're ambassadors for everything good, including Amnesty International, Music Minds Matter and now, Independent Venue Week. </p><p>Independent Venue Week, which is unfolding as we speak across 236 of the UK's grassroots venues, have organised a stacked programme of shows with the aim of showcasing the magic within their walls. For Nova Twins, it was a full circle moment too. This venue was where they played growing up and honing their craft - bassist Georgia South even played a show there on her 18th birthday, in the same room where she had her first legal pint. This was the room that made them. So many artists will have had a space like that, to play around, mess up, have fun and connect with the faces staring back at them. </p><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/0xyRwrTidoY?feature=oembed" frameborder="0" allowfullscreen title="Nova Twins - Monsters (Official Music Video)"></iframe></figure><p>The audiences are special. There's always a joyous fizz in the air at a Nova Twins show, but it struck a different tone in the Amersham Arms compared to their far bigger Kentish Town Forum show in October. They have a friendly fanbase as it is, but the atmosphere was warmer somehow in an intimate pub basement than a chain venue. The sense of togetherness poured through even during support act Ashaine White's set, punters near the back gently cheering her on as she spoke to the crowd, and as she played the moving 'I Sing To Myself' - tenderly capturing the helplessness of watching world tragedy through a screen - the silence and reverence was powerful. I've been in enough corporate chain venues to know this atmosphere is exclusively the preserve of communal, independent spaces. </p><figure class="kg-card kg-embed-card"><iframe width="200" height="150" src="https://www.youtube.com/embed/SrzdDkyy6FI?feature=oembed" frameborder="0" allowfullscreen title="Ashaine White - I Sing To Myself (Official Video)"></iframe></figure><p>If you're getting gig envy from this, there's still time to get involved - <a href="https://independentvenueweek.com/uk/" rel="noreferrer">click here </a>to see what's going on this week in your local area for Independent Venue Week 2026. </p><hr /><h2 id="jack-from-tickets-for-good-and-the-ticket-bank-is-on-the-podcast">Jack from Tickets For Good and The Ticket Bank is on the podcast</h2><p>A gig is a perfect escape from the strains of daily life - but not everyone has the financial means to drop their worries outside the venue door. This is where two fantastic initiatives come in, with Tickets For Good offering gig tickets to NHS workers, teachers, and carers and the Ticket Bank designed for fans on low incomes. </p><p>Jack explains how the infrastructure works who it serves, and why more artists and venues need to get involved, as well as touring economics, dynamic pricing myths, and the uncomfortable reality that an industry generating billions still prices out the people who need culture most. </p><p>You can subscribe and listen for free on <a href="https://podcasts.apple.com/us/podcast/drowned-in-sound/id1037405920?ref=drownedinsound.org" rel="noopener noreferrer"><strong>Apple</strong></a><strong> | </strong><a href="https://drownedinsound.podbean.com/?ref=drownedinsound.org" rel="noopener noreferrer"><strong>Podbean</strong></a><strong> | </strong><a href="https://pocketcasts.com/podcast/drowned-in-sound/e12e7730-379f-0133-b632-0d11918ab357?ref=drownedinsound.org" rel="noopener noreferrer"><strong>Pocket Casts</strong></a><strong> | </strong><a href="https://podcastaddict.com/podcast/drowned-in-sound/6005286?ref=drownedinsound.org#" rel="noopener noreferrer"><strong>Podcast Addict</strong></a> | or wherever you get your podcasts.</p><hr /><h3 id="track-of-the-week">Track of the Week</h3><h2 id="aux-romanticiser-by-the-itch">'Aux Romanticiser' by The Itch</h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/EJs3cXfA9xo?feature=oembed" frameborder="0" allowfullscreen title="The Itch - Aux Romanticiser (Official)"></iframe></figure><p>Do you fancy a dance this week? I rather warmed to the zany floor-filling energy of this new song by rising Luton dance-punk duo The Itch, which combines the fizzing feeling of late night hedonism with a quirky, nostalgic twist. Lyrically, it speaks irreverently of the giddiness of plugging in the aux cable and becoming your own DJ, subjecting everyone around to your idea of the perfect playlist. It sits somewhere in the cross-section between the sounds of LCD Soundsystem, The Dare and Lynks and if that sounds like your cup of tea, their debut album <em>It's The Hope That Kills You is </em>out on 10th April. </p><hr /><h2 id="music-venues-and-pubs-get-business-rates-helpbut-is-it-enough">Music venues and pubs get business rates help - but is it enough?</h2><p>The changes to business rates outlined by Rachel Reeves in the budget could have spelled the death knell for some pubs and live music venues, but in a bid to avoid widespread closures and job losses, the Treasury has provided a support package worth tens of millions of pounds. Every pub or venue will get 15 per cent off its business rates bill from 1st April and for the next two years, bills will be frozen (in real terms) for the next two years. </p><p>Clearly, the backlash against the policies has translated into positive change, but for some, this U-turn doesn't go far enough. The Night Time Industries Association (NTIA) said it was merely "a drop in the ocean" given how many concerns it has that haven't been addressed over things like licensing fees and alcohol duty. </p><blockquote>“This policy position is frankly baffling. Pubs, bars, nightclubs, live music venues and cultural spaces are all part of the same fragile ecosystem, facing the same structural challenges and carrying the same disproportionate tax burdens. To support one part while ignoring the rest is not just short-sighted, it is fundamentally disconnected from how this industry actually operates."</blockquote><p>The Music Venue Trust's statement was more positive, saying it "warmly welcomes today’s government statement on urgent and immediate Business Rate relief." They added that they will explore with their 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". </p><hr /><h2 id="the-first-of-many-cancelled-us-tours">The first of many cancelled US tours?</h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/cHaRiL8Eqkw?feature=oembed" frameborder="0" allowfullscreen title="Delilah Bon - Not The President (Lyric Video)"></iframe></figure><p>What do you do when one of your biggest touring markets is an authoritarian hellscape? This week marked the first time I'd seen an artist cancel a US tour over the current state of the country, namely feminist 'brat punk' artist Delilah Bon. She explained <a href="https://www.instagram.com/p/DTxpilZCGn0/" rel="noreferrer">in a video posted to Instagram</a> that she believed the tour could put her, her touring party and her fans' safety at risk, especially those who are undocumented and could thus be targeted in ICE raids. </p><p>It's perfectly understandable, and a horrendous choice to have to make, but this speaks devastating volumes about how evil the US has become if a queer feminist artist cannot come there and provide an hour or so of catharsis, community and hope. I'm wholly expecting more artists to do the same. All the love and solidarity with Delilah. </p><hr /><h2 id="is-a-reckoning-on-the-way-for-live-nation">Is a reckoning on the way for Live Nation?</h2><figure class="kg-card kg-bookmark-card"><a class="kg-bookmark-container" href="https://www.linkedin.com/pulse/parliamentary-inquiry-real-implications-sx02e/"><div class="kg-bookmark-content"><div class="kg-bookmark-title">A Parliamentary Inquiry with real implications for live music</div><div class="kg-bookmark-description">As many of you will know, last year AIF brought evidence to the UK Parliament’s Business and Trade Select Committee. We shared detailed data on Live Nation’s control of concerts above 5,000 capacity in the UK.</div><div class="kg-bookmark-metadata"><img class="kg-bookmark-icon" src="https://www.drownedinsound.org/content/images/icon/al2o9zrvru7aqj8e1x2rzsrca-1" alt="" /><span class="kg-bookmark-author">LinkedIn</span><span class="kg-bookmark-publisher">Association of Independent Festivals</span></div></div><div class="kg-bookmark-thumbnail"><img src="https://www.drownedinsound.org/content/images/thumbnail/1768241119817" alt="" /></div></a></figure><p>The window has just closed for evidence relating to a parliamentary inquiry into competition and market functioning in the UK Live Music Industry. If there's enough strong evidence that goes far enough, it could lead to an investigation by the CMA into whether Live Nation, which holds a monopoly, is abusing its market power. </p><p>The Association of Independent Festivals (AIF) has brought evidence to the inquiry and is arguing that Live Nation's market dominance "restricts competition, inflates prices, limits access to culture, stifles creativity, and delivers poor outcomes for both industry and audiences."</p><p>If you've felt priced out as a fan by the cost of tickets to larger gigs, some very interesting developments could be on the way. </p><hr /><h3 id="hopeful-story">Hopeful story</h3><h2 id="could-harry-styles-adding-the-grassroots-levy-be-a-game-changer">Could Harry Styles adding the grassroots levy be a game-changer?</h2><figure class="kg-card kg-embed-card"><iframe width="200" height="113" src="https://www.youtube.com/embed/7sxVHYZ_PnA?feature=oembed" frameborder="0" allowfullscreen title="Harry Styles - Aperture (Official Video)"></iframe></figure><p>As we mentioned last week, Mark Davyd's speech at the launch of the Music Venue Trust's annual report called out Live Nation for dragging their feet when it came to implementing the grassroots levy. Now, however, we might be getting some movement. Harry Styles' eight Wembley Stadium shows taking place in June, which are being promoted by Live Nation, are participating in the grassroots levy. </p><p>If they keep this up with more major shows, given their market power, the levy will have far more chance of success. And, if that wasn't a big enough supply of good news, Styles' shows are also supporting <a href="https://chooselove.org/" rel="noreferrer">humanitarian aid organisation Choose Love</a>, who he has been working with for the last decade. </p><p>Elsewhere, <a href="https://www.kerrang.com/enter-shikari-uk-european-headline-arena-tour-biggest-ever-2026" rel="noreferrer">Enter Shikari's November arena tour</a>, which is also being promoted by Live Nation, will once again carry the grassroots levy. </p><figure class="kg-card kg-bookmark-card"><a class="kg-bookmark-container" href="https://www.drownedinsound.org/music-venue-trust-calls-out-live-nation/"><div class="kg-bookmark-content"><div class="kg-bookmark-title">Music Venue Trust Calls Out Live Nation</div><div class="kg-bookmark-description">The state of grassroots music in the spotlight + track of the week + news Aphex news</div><div class="kg-bookmark-metadata"><img class="kg-bookmark-icon" src="https://www.drownedinsound.org/content/images/icon/DiS-waves-600px--2--59.png" alt="" /><span class="kg-bookmark-author">Drowned in Sound</span><span class="kg-bookmark-publisher">Emma Wilkes</span></div></div><div class="kg-bookmark-thumbnail"><img src="https://www.drownedinsound.org/content/images/thumbnail/Event.jpg" alt="" /></div></a></figure><hr /><div class="kg-card kg-cta-card kg-cta-bg-grey kg-cta-immersive kg-cta-has-img "> <div class="kg-cta-sponsor-label-wrapper"> <div class="kg-cta-sponsor-label"> <span style="white-space:pre-wrap">SPONSORED</span> </div> </div> <div class="kg-cta-content"> <div class="kg-cta-image-container"> <a href="https://qobuz.com/dis"><img src="https://www.drownedinsound.org/content/images/2026/01/Screenshot-2026-01-21-at-23.57.19.png" alt="CTA Image" /></a> </div> <div class="kg-cta-content-inner"> <div class="kg-cta-text"> <p><span style="white-space:pre-wrap">As part of our partnership with </span><b><strong style="white-space:pre-wrap">Qobuz</strong></b><span style="white-space:pre-wrap"> - the service for music enthusiasts featuring high quality sound so that we can rediscover music - we create a companion playlist for each episode of our podcast. </span><a href="https://open.qobuz.com/playlist/53335869" rel="noreferrer" class="cta-link-color"><span style="white-space:pre-wrap">Listen to this week's playlist</span></a><span style="white-space:pre-wrap">, which is a 101 Part Time Jobs special with tunes from Peaches, The National, and kicking things off is our track of the week</span></p><p><span style="white-space:pre-wrap">Start your 30-day free trial of Qobuz: </span></p> </div> <a href="https://qobuz.com/dis" class="kg-cta-button " style="background-color:#000000;color:#ffffff"> Get a 30-day free trial </a> </div> </div> </div>

drownedinsound.org

Music Venue Trust Calls Out Live Nation

The state of grassroots music in the spotlight + track of the week + news Aphex news

drownedinsound.org

Over A Million Free Tickets: Discover The Ticket Bank's Mission

Podcast Episode · Drowned in Sound · 27/01/2026 · 42m

podcasts.apple.com

Music Venue Trust Calls Out Live Nation

The state of grassroots music in the spotlight + track of the week + news Aphex news

drownedinsound.org

🔵 How a 1971 letter anticipated the music business of 2026

Revisiting Bill Graham’s Plea for "New Blood" in an era of The Constant Now

networknotes.motiveunknown.com

Girls Love Techno

A t-shirt slogan, a Welsh village hall, and what’s quietly breaking in live music

drownedinsound.org