OPINION
Time to support indie promoters
With 55 % of indie promoters having to supplement their income with other work, Association of Independent Promoters co-chair Anna Moulson outlines why the vital element of the live music ecosystem requires urgent financial and political support.
Earlier this year, the Association of Independent Promoters launched its first ever report, providing a snapshot of the sector in the UK. It was a picture of light and shade; while the data showed that independent promoters are vital champions of emerging local talent, most of them need work outside of live promotion to supplement their income.
In the 2024 survey that formed the basis of the report, none of the respondents reported excluding local acts entirely, and 51 % said local artists made up at least half of their programming. At the top end, 17 % featured local acts in 91 – 100 % of their shows.
Independent promoters have a sustained commitment to regional talent, which acts as a springboard to bigger stages, sustained music careers and hopefully headliner status.
But our survey also exposed just how precarious the current situation is for independent music promoters.
Almost all respondents( 90 %) reported making a financial loss on their events. Promoters take on the financial risk, while the venue, artists, and sound engineers are typically guaranteed some form of remuneration.
Many grassroots and early career promoters fund a large portion, or even the entirety, of their programming out of pocket. These operators typically lack the
“ THESE ARE HIGHLY VALUES-DRIVEN ORGANISATIONS THAT PRIORITISE CULTURAL BENEFIT OVER COMMERCIAL RETURN.”
Anna Moulson resources or infrastructure to absorb financial hits and are disproportionately exposed to loss.
Notably, 13.46 % of respondents to the survey said they personally fund at least 91 % of their shows. These are highly values-driven organisations that prioritise cultural benefit over commercial return. Their work is critical to the sector’ s depth and diversity, but it cannot continue without intervention.
Overall, 55 % of independent live promoters who completed our survey said they had to work in other capacities to earn enough income. In short this crucial cultural sector needs both financial and political support.
In Europe, many governments have established an approach to culture that encourages the incubation and development of artistic talent. This is often spearheaded by VAT reform.
When asked to identify the main issue facing them as a promoter, 60 % of respondents to our survey cited the UK’ s VAT rate. The UK has the highest cultural VAT rate in Europe, standing at 20 %. That’ s double the reduced cultural VAT rates in countries like Spain( 10 %) and Italy( 10 %), and significantly higher than Belgium( 6 %), France( 5.5 %), Germany( 7 %), the Netherlands( 9 %), and Sweden( 6 %). The impact on UK promoters is profound. Many AIP members who are VATregistered( more than half) cannot claim VAT back at the grassroots level, as artist and venue hire fees at this scale often do not include VAT. In some cases, the VAT payment on a small-capacity gig matches the fee paid to the headlining artist.
With mounting financial pressure, many promoters are now looking to reduce their VAT exposure by producing fewer shows or falling below the VAT threshold altogether. This, in turn, drastically reduces opportunities for early-career artists and diminishes the pipeline of new talent. As Belgian agent Tommy De Nys highlighted in the AIP Report, Belgium“ regards culture as a public good, not just an economic asset.” That ethos is reflected in the country’ s low cultural VAT rate, a well-supported funding ecosystem, and the integration of culture across sectors such as education, tourism, diplomacy, and urban development.
This is the kind of partnership the UK needs. A mutually beneficial relationship between government and culture that recognises the value of the live music sector.
Independent promoters are not a peripheral concern. They are the foundation of the live music industry, and without them, the next generation of UK talent may never make it to the stage.
accessaa. co. uk 13