The future of Bristol’s live music scene

From grimy floors of underground haunts, to the revered concert halls of old, Bristol’s eclectic live music scene is interwoven into the fabric of the city.

Home-grown talent and nationally renowned artists alike have honed their craft on the stages of some of the smallest venues.

But this legacy is under threat. The future of long-standing venues, including the Thekla, The Fleece and Fiddlers,  hangs in the balance.

Fears the future of the Thekla could be under threat

The likes of The Surrey Vaults have already been forced to close their doors for good and music lovers are fighting to protect grass roots establishments from the dual threat of development and rising rents.

But the swell of public pressure is starting to turn the tide and, following a nationwide campaign, the Government has backed the ‘agent of change bill’, which puts the onus on the party that’s initiating change – whether it be developer or venue – to mitigate against any impact on existing buildings in the area.

Bristol MPs and music lovers Kerry McCarthy and Thangam Debbonaire both sponsored the bill and welcomed the support from the housing secretary on Thursday.

Reflecting on Bristol’s music scene, Mig Schillace, live music booker at the Louisiana, says: “The standard of bands across the music spectrum is better than it’s ever been.”

His family-run, 140-capacity venue on the corner of Wapping Road has forged a stellar reputation in its 30 year history, hosting an impressive line-up of big names and musical talent.

Mig Schillace says developments in the city is influencing decision-making

But it has not been plain sailing.

“In 2006, The Louisiana was under threat because of noise complaints,” continues Mig. “We ended up having to sell our family home to raise £90,000 to soundproof the live room.”

This struggle between music venues and the ever-growing need for more homes brought the issue to the fore recently and sparked a campaign for the Government to take action, amid a 36 per cent decline in grass roots venues across the UK in the last decade.

Wayward Sons at Louisiana. Photo by Shona Cutt

“There is a very real risk to small venues,” says Patrick Somers, of the Thekla, a venue that faces an uncertain future following the news that a new housing development is to be built just across the water.

“Small venues could be financially crippled complying with any soundproofing or, in drastic cases, be served with a closure notice.

“Having worked in the Bristol music scene for over a decade now, it’s one of the friendliest and co-operative in the country with venues, promoters and artists all working together to ensure that the city has one of the most inclusive and active in the country.

“That’s something to be proud of and we need to ensure it stays that way – and small venues are vital for that.”

It is this inclusivity and diversity, as much as a love of music, which draws many people from all walks of life across the city.

Big Jeff

Bristol’s most famous gig goer Jeffrey Johns, better known as Big Jeff, has found refuge and acceptance in being a part of this community.

“We are always going to have venues that come and go, but it really feels at the moment that really key venues are under threat and they are the venues that are most needed,” he tells Bristol24/7.

“Going to see bands in Bristol has really helped me deal with mental health issues and going out socially. It’s about acceptance.

“I think there has been a bit of a resurgence in recent years of Bristol bands actually breaking outside of the city.

“Whether it’s IDLES, or Lice or Fuck Buttons. They need venues to do their shows. It’s great having the bigger venues, but if we do not have the step-up for those artists, where are they going to come from? It’s about making live music more accessible for people.”

Emma Gorton-Ellicott

Bang DJ and Bristol24/7 Fashion Editor Emma Gorton-Ellicott has been involved in Bristol’s music scene for years and believes gentrification has played a hand in the closure of some of the city’s most loved venues.

“The biggest shocker lately has been The Surrey Vaults (which closed in November),” she says. “It was such a great little venue. We put on bands and DJ’d there and The Relay Rips (two-thirds of Bang) had their launch party there.

“It is ridiculous and such a shame that it should close just because of noise complaints from nearby flats.”

A group gathered to make their feelings felt outside the Surrey Vaults on Saturday, when fireworks were set off and protesters took part in a ‘mass scream’ in anger at its closure.

Kerry McCarthy

In a bid to prevent such casualties in the future, venue owners and promoters joined with MPs to mount a campaign calling on the Government to introduce the ‘agent of change’ principle into planning law.

Speaking about why she campaigned, McCarthy said: “The live music scene is incredibly important to Bristol. It’s one of the reasons the city always appears in polls as the best place to live.

“Smaller venues in particular could be nurturing the super stars of the future. Obviously I want a big arena [a 12,000 capacity arena is in the planning stages] but we have got to protect the grassroots venues.”

“A few years ago, the coalition government relaxed planning laws so offices could easily be converted into flats and the consequence has been a surge in the number of residential properties.

“In Bristol, we have the political will to protect music venues, but it does need Government support.”

Mayor Marvin Rees has also pledged to introduce the ‘agent of change principle’ into the council’s planning policy.

Matt Otridge

The owner of the Exchange, Matt Otridge, says the development of the Music Venues Trust, which championed the agent of change campaign, has helped smaller venues unite and not feel so isolated in the face of threats.

But he says the conversion of offices into student accommodation next to the Old Market venue is certainly influencing decision-making.

“I used to run the Croft in Stokes Croft and there, we had to do quite a few things to safeguard the business, including renting the flat next door so we wouldn’t get noise complaints,” says the former musician.

“We moved to Old Market to get away from the residential area and, when we opened, it was offices nearby, but they have now been turned into flats.

“We are taking the decision not to run too many late club nights now as we don’t want to jeopardise our live music by risking complaints.”

Messenger at the Fleece. Photo by Mike Evans

Survival is a proving a constant balancing act for many venues, as Chris Sharp, owner of The Fleece explains.

“It’s very difficult to make money solely as a live music venue, so we rely on club nights and have a 4am license on Thursdays, Fridays and Saturdays.

“Putting on gig nights is a bit like horse racing- you are betting on how many people will come and how much they will spend.”

Facing the possible threat of complaints from a new development opposite, combined with a substantial hike in business rates, Sharp fears the popular venue could be threatened with closure.

But he won’t let it go down without a fight and remains passionate about saving grass roots venues. “People in this country have no idea how revered we are for our music scene. Over the course of history, we have produced The Beatles, Queen, David Bowie, The Rolling Stones.

“It’s because we have such an amazing culture of live music and so many great venues for people to start out in that we have this multi-billion pound industry.

“It’s vital that grass roots venues are kept open – they are key to the whole thing. Otherwise, we will lose the live music scene that has become really strong in Bristol over the last 20 years.”

Simple Things Colston Hall Bristol 2017

Due to reopen with a new name in 2020 after a major refurbishment, the Colston Hall is going from strength to strength, but it is staunchly supportive of smaller venues and the agent of change campaign.

“We have always brought big names to the city and that has continued,” says Andy Boreham, head of marketing for the venue.

“We see ourselves as part of an ecosystem of music venues in the city. Artists need time to incubate and hone their craft, and Bristol has a fantastic network of venues which foster this until they reach the level that they could play our main room.

“A mix of venues that cater for acts at different stages of their careers and different audience tastes is vital to a thriving live music scene.”

Sammy Jones

Bristol-based writer and former Bristol24/7 Music Editor Sammy Jones reflects on what live music means to her:

“The music scene in Bristol is a big reason I moved here in the first place, and I bet you a lot of the city’s best creative minds feel the same way. I swear that when I saw METZ play at Start the Bus in 2013, the way I felt about music changed forever.

“When we talk about shutting venues – and some of the best ones are staring down the barrel of a gun at the minute – we’re talking about shutting down a creative artery of the city that nurtures and protects everything that’s good about sharing music.

“God knows, these venues weren’t making loads of cash for themselves to begin with, but the creative capital they’ve brought into Bristol has to outweigh any horrible obscenely over-priced magnolia boxes the developers want to install instead.”

Main image by Shona Cutt.

Read more: The Fleece faces survival fight after business rates rise by over 400 per cent