Christopher BarrettCampaign group Black Lives In Music (BLiM) has launched a first of its kind survey to investigate reported race inequality, bias and over-policing of music events in London.
BLiM is calling on artists, promoters and venue managers to share their experiences of unfair cancellations, discriminatory licensing practices and other incidents. It is particularly keen to hear the perspective of Black, Asian and ethnically diverse participants in the sector. The research is being carried out by the Runnymede Trust and is commissioned by the Mayor of London.
The REMEL (Race Equality In Music Events Licencing) survey is being launched with the Musicians’ Union, UK Music, LIVE and Mayor of London. BLiM said it is being launched in reaction to repeated concerns having been raised about decision making and risk assessment processes that venues, police and councils carry out that result in a disproportionate impact on Black and Asian led events in the capital – and its impact on new talent and the emergence of new genres.
BLiM and The Musicians’ Union wrote to the Mayor in 2023 about these barriers. In response, the Mayor, BLiM, the Musicians’ Union and LIVE established The Race Equality in Music Event Licensing (REMEL) project in June last year to take action. REMEL is chaired by Justine Simons OBE, Deputy Mayor for Culture and the Creative Industries.
Previously, Form 696 was used by the Metropolitan Police Service to inform licensing decisions about live music events, originally asking for details of the ethnicity of the audience and the music genre. Following a review by the Met Police and the Mayor of London, the form was discontinued in 2017. But it is thought its legacy still affects formal and informal licensing decisions and interactions.
BLiM CEO Charisse Beaumont said the survey is a crucial step in driving change in live music licensing: “Through Project REMEL, we are uncovering the systemic barriers in licensing that Black and Asian artists, promoters, and venue owners have faced for too long. Barriers that have stifled artistic expression and economic growth.
“Last minute event cancellations by the police, license extensions denied, covert phone calls pressuring venue owners to cancel events and outright refusals to grant licenses based on music genres including Jazz, Bhangra, and Gospel are just some of the obstacles. It’s not just Drill music. These challenges don’t just impact individuals, they hold back the entire music industry.
“By gathering real data, we can expose these challenges, highlight best practices and push for an industry that is not just fair, but stronger, more creative and more profitable for everyone. We need venues, artists, promoters and decision-makers to take part and share their experiences.”
LIVE CEO Jon Collins said that as part of Project REMEL, LIVE held a roundtable that highlighted how Black, Asian and ethnically diverse artists, promoters, venues and events are consistently faced with bigger barriers than their white counterparts. “There are clear steps that need to be taken to address this imbalance and a solid research foundation will ensure those steps are supported,” he said. “This survey and the work of Project REMEL are of vital importance as we seek to address long term institutional discrimination and, as a result, facilitate a range of gigs, festivals and club nights that will bring economic, cultural and societal benefits.”