Comment: The UK's rich musical heritage is under threat Published on: 8 March 2017 Writing for The Conversation, Dr Adam Behr explains why the UK's live music scene is under pressure. dwphotos / Shutterstock.com , From the Proms to Glastonbury, the UK鈥檚 music has always been as clearly characterised by live music as bestselling recordings and star biographies. The rich history of our musical spaces illuminates the evolution of an array of musical styles and their social contexts. But the relationship between music makers and policymakers hasn鈥檛 always been plain sailing 鈥� particularly when new genres burst into the public consciousness. Explaining Glasgow City Council鈥檚 1956 decision to ban rock 鈥榥鈥� roll shows from its venues, the general manager of its City Halls Department : We do not think this kind of dancing can do us any good. In any case, there are dangers which can result in trouble and damage to property. We have experience of what can happens when this rock 鈥榥鈥� roll takes place. But by the mid 1960s, of course, rock was firmly established throughout the country as impressarios took it into theatres and cinemas. By the end of the decade, Pink Floyd had played at the and the Rolling Stones had staged a celebrated concert in . From London鈥檚 Marquee to Liverpool鈥檚 Cavern, many of the venues of that era became as iconic as the acts that played them. The student union circuit became a seedbed for a generation of promoters, such as , and the site of legendary gigs, exemplified by The Who鈥檚 in 1970. Challenging times Live events, across all genres, are also central to the UK鈥檚 music economy. In 2008, revenues from live music , becoming an ever more essential part of musicians鈥� livelihoods. And so there鈥檚 a greater need than ever for a range of venues, from pubs through to arenas, for fledgling acts to progress through as they grow their audience. But vital parts of this live music ecology have suffered in recent years. Grassroots venues are run on tight margins, and have been under pressure for some time from external factors such as . Likewise, the surrounding policy context can add to the burden. Even without the outright suspicion on display over rock 鈥榥鈥� roll in the 1950s, local authorities鈥� licensing and development policies can militate against a healthy music scene if care isn鈥檛 taken to protect it. Between 2007 and 2015, London lost 35% of its grassroots venues. This brewing crisis prompted a response, and the , formed in 2014, worked to push the issue up the policy agenda, liaising with the Mayor of London鈥檚 office to form a and appoint a Night Mayor to champion the city鈥檚 night-time economy. The Music Venue Trust鈥檚 research shows that the number of venues in the capital in January 2017 was . But it takes a concerted effort, and the situation is febrile for venues up and down the country with now a persistent refrain. The government鈥檚 could see a rise in the level of rates they will pay of up to 55%. For some music venues, this could easily be the difference between staying operational or going under. This wouldn鈥檛 just be a loss to the economy. Local venues are a as well as an economic resource. The social and musical networks they house are not easily replaced and the larger spaces, ultimately, depend on healthy grassroots for tomorrow鈥檚 headliners. The challenges are widespread, and face venues of all kinds. A squeeze on funding has seen local authorities reduce their spending on the arts, and also faces an uncertain future. Large venues such as the O2 Academy Brixton rely on smaller grassroots venues. , Soundchecking the UK鈥檚 live music The state of affairs, then, is finely balanced. On the one hand, live music in the UK is an immense economic and cultural asset, driving everything from and civic pride to . On the other, the conditions for venues and music makers call for a carefully calibrated response from policymakers to manage the ongoing tensions. This is the motivation for a team from the Universities of Edinburgh, Glasgow and 缅北禁地 to conduct the world鈥檚 . A snapshot census of live music across six cities 鈥� Glasgow, 缅北禁地, Leeds, Oxford, Southampton and Brighton 鈥� on Thursday March 9 will gather observational data and information about audiences at gigs and concerts across genres and venues types, from open mic sessions in pubs, through city halls to an Olly Murs arena show. Online nationwide surveys of audiences, musicians, venues and promoters running until May will provide the broader context, along with social media analysis. The research team has consulted with a range of to arrive at a set of questions that captures the full spectrum of activity in a way that will be applicable to drawing up policy on a local and national scale. Even in straitened times, government can still find ways to support live music if it has the right information. Lord Clement Jones, a driving force to facilitate live music, the value of up-to-date, comprehensive information: Live music is facing a number of challenges at the moment, from venues closing down to the threat of increased business rates. However, data about the sector has so far been relatively scarce and mostly anecdotal, and so the much needed data collected by UK Live Music Census will help us protect live music going into the future. Pulling together diverse voices from across the live music sector to provide a cohesive picture of the situation will help to safeguard the routes from pub to stadium that have enriched our national culture until now. To take part in the UK Live Music Census, from March 9 to May 8. Help to build the picture through social media by sending photos or information about any gigs or clubs you鈥檙e at on March 9 to @ukmusiccensus (, , ). , Lecturer in Popular and Contemporary Music, This article was originally published on . Read the . 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