As grassroots music venues face shutdowns and streaming royalties continue to disappoint, artists and community champions are rallying to keep the music playing. The challenging environment is exacerbated by a general cost of living crisis affecting all sectors.
The Camden Underworld is one such venue pulsating with life. The venue throbs with the sounds of Alt Blk Era, a dynamic duo comprising sisters Nyrobi and Chaya Beckett-Messam. Their eclectic blend of metal, punk, hip-hop and drum’n’bass, not to mention their striking attire, has the audience in raptures. The sisters, who honed their songwriting skills during the lockdown, have managed to transcend local gigs and packed Glastonbury sets, winning a Mobo award for the best alternative music act along the way.
“We have always pushed boundaries and never wanted to compromise our brand, music or message,” reiterates Nyrobi. The pair were fortunate enough to receive funding that fostered their growth outside mainstream record labels, reaffirming the value of originality in a system that can often feel rigid and oppressive.
The PRS Foundation, the UK’s leading charitable funder of new music, has been instrumental in supporting such emerging artists. Since its inception in 2000, it has injected over £50m into more than 9,000 new music projects, nurturing six of the last seven Mercury prize winners. One such beneficiary, Alt Blk Era, put the funds to good use, recording their album Rave Immortal which topped the rock and metal charts and embarking on a US tour.
The surge in streaming and the shift away from record sales have proved challenging for many artists. Spotify’s 2024 figures boasted of £750m in royalties paid to UK artists. However, with an average payout between £0.002 and £0.004 per stream, the reality is that a song needs to be played 50,000 times just to earn £100.
For many bands, like feminist punk trio Big Joanie, the live shows and the potential sale of merchandise often prove to be the most reliable source of income. Yet, even these venues are under threat. In Bedford, concerns are rife that the iconic Esquires venue might be converted into flats. Thankfully, initiatives like the Music Venue Trust’s Own Our Venues scheme are stepping in to secure such vulnerable spaces, ensuring they remain a vital part of the music ecosystem.
The crisis among grassroots venues is evident. In 2023 alone, 125 music venues shuttered, and more than 40% of UK grassroots venues operated at a loss last year. Public figures like punk rocker and MVT patron Frank Turner, who performed over 3,000 gigs, are rallying to support these venues. Turner donated £1 from every ticket sold on his 2025 tour to MVT, stressing the irreplaceable value of live music.
A shining example of the power of community organisation is the Mercury prize-winning Ezra Collective, which was formed in a youth club. The Kinetika Bloco brings together 14–18-year-olds for music camps, fostering creativity and inspiring many to start their own bands. National charity Youth Music supports such initiatives, benefiting groups like the Leeds-based band English Teacher, recipients of Youth Music’s NextGen fund.
“Our society loves music but often forgets what it takes to make a career from it,” says Youth Music CEO Matt Griffiths. It is indeed an uphill task for musicians to navigate this challenging landscape, underscoring the need to support this industry before it hits a sour note.
