The UK city is hoping to become the first to enact a city-wide ticket levy, helping to fund venues and musicians.

In response to a national crisis in the UK’s music industry, Bristol is exploring a new ticket levy to support its independent music venues. Following the closure of 125 independent venues across the country in 2023, Bristol leaders are proposing a 1% fee on ticket sales at participating venues and events.

Carly Heath, the city’s night-time economy advisor, explained that this levy could generate up to £1 million annually, which would then be reinvested into local music venues, events, and initiatives. Heath emphasised the transformative potential of these funds, stating, “That would transform the music industry in the city,” helping to sustain a scene that has been vital to Bristol’s identity for years.

The initiative comes at a time when venues are facing reduced business rates relief, which has dropped from 75% to 40% in the latest budget – a shift that adds substantial financial pressure on small, independent venues. This rate change has amplified the need for alternative sources of support, especially as traditional grants and funding remain stretched thin.

Interestingly, the idea of a ticket levy has garnered widespread local support. According to a survey conducted by Bristol Nights, a council project behind the levy, 93% of local residents support the concept. Tom Kiehl, CEO of industry body UK Music, sees the levy as an innovative solution that could inspire other cities facing similar challenges.

“There’s a big discussion at the moment in the industry about whether arena and stadiums can agree a levy to support the grassroots in the sector. Those conversations are ongoing, so its actually really interesting to see a really positive local solution being developed in this area,” he said.

The concept aligns with ongoing national conversations around financial support for smaller venues, and Bristol’s approach might offer a blueprint that other cities, like Glasgow, could replicate. Some regions, such as Halifax, have already experimented with a similar scheme, where ticket sales from a larger venue help support smaller ones in the area.

The revenue from Bristol’s proposed levy would be managed by a community benefit society, which would distribute funds through grants to venues, artists, and other industry stakeholders in need. Heidi Wort, director and bookings manager of Bristol venue Exchange, sees potential in the idea, saying her venue would likely opt in. While acknowledging the strain on people’s finances, she called for transparency in the fund’s use, expressing hope that the public would understand how their money is directly benefiting local music.

For emerging artists in Bristol, the local fund represents a more accessible option compared to national grants, which involve intense competition from artists across the UK. Sarah Clayton of Bristol band Life in Mono appreciates the targeted support the fund would provide to local artists, noting that it avoids the challenges of competing with musicians nationally. Her bandmate, Adam Darroch-Thompson, echoed her sentiments but did express concern about additional costs being passed to music fans, who already support the scene through tickets and merchandise purchases.

Bristol’s ticket levy proposal represents an innovative, community-centered approach to address financial challenges in the music sector. While it requires buy-in from both venues and fans, the initiative offers a way for communities to protect their local music scenes from closure.

If successful, Bristol’s approach could set a precedent for other cities across the UK, fostering a sustainable future for independent music and giving venues, artists, and fans the chance to keep live music alive. By pioneering this model, Bristol could show the power of collective action in preserving the spaces where music thrives.