A first of its kind survey has been launched to investigate reported race inequality, bias and over-policing of music events in London, calling on artists, promoters and venue managers to share their experiences of unfair cancellations, discriminatory licensing practices and other incidents. The survey is particularly keen to hear the perspective of Black, Asian and ethnically diverse participants in the sector.
Black Lives in Music (BLiM) is leading the study, with the Runnymede Trust carrying out the research, asking the live industry to come forward with their experiences of dealing with local authorities and the police.
It is announced today at the Night Time Economy Summit in Birmingham.
The REMEL (Race Equality In Music Events Licencing) survey is being launched with the Musicians’ Union, UK Music, LIVE and Mayor of London.
Repeated concerns have 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 for which London is world-famous.
Black Lives In Music (BLiM) and The Musicians’ Union wrote to the Mayor in 2023 about these barriers. In response, the Mayor, Black Lives In Music, the Musicians’ Union and LIVE established The Race Equality in Music Event Licensing (REMEL) project in June 2024 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 has been commissioned alongside Runnymede Trust, The UK’s leading race equality think tank, by the Mayor of London to research the impact of policies and interactions with the police, councils, venues and promoters on Black, Asian and ethnically diverse music events.
BLiM has been gathering data and stories. For example, they found a cultural venue with mostly ‘Black/Brown’ music programming which had been unable to secure the longer hours necessary to make the venue economically viable, despite the absence of any evidence showing adverse effects. However, local pubs continued to trade, sometimes playing the same music. In other cases, promoters felt the need to change their own name to a ‘white’ pseudonym to secure a licence.
Charisse Beaumont, CEO of Black Lives in Music, said: "This survey is a crucial step in driving real 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.
“Together, we can transform the live music industry into a sector where talent is nurtured, opportunities are equal, and success is accessible to all.”
Naomi Pohl, General Secretary of the Musicians’ Union, said: “Discrimination against Black and global majority artists and music genres is holding the UK music industry back. We need to harness diverse talent and ensure fans have access to live music in the genres they love. Discrimination has no place in our industry and we are delighted to partner with Black Lives in Music to seek further evidence of this issue in order that we can better represent musicians affected. All musicians should be able to thrive artistically in the UK and be supported to reach their full potential.”
Jon Collins, CEO of LIVE, said: “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. 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.”
Tom Kiehl, Chief Executive of UK Music, said: “The racist Form 696 may have been abolished in 2017 yet this was a false dawn. The Form perpetuated a climate of discrimination towards live music from Black, Asian and ethnically diversity communities across London, and may have left a troubling legacy in the way events are licensed that is still felt today. It is imperative to overcome inequalities for Black music, but we need more evidence and testimonies to support further action. UK Music strongly supports Project REMEL and urges participation in the survey to help unlock barriers for talented artists, musicians, as well as music fans, across the capital.”
Dr Shabna Begum CEO Runnymede Trust said:
“The Runnymede Trust have long been involved in challenging the over-policing of Black and brown communities where there is clear evidence of disproportionate and excessive use of punitive policing powers. It is therefore not surprising that this disproportionality shows up in licensing practices and thereby impacts on the cultural life of Black and brown communities. It is incredibly important that we investigate and define the scale and intensity of the problems and work towards overcoming those practices; this is not just about the viability of businesses and the livelihoods of musicians and creatives - though this is important; but it is also about refusing the criminalisation of the cultural life of communities of colour whose forms of creative expression are, through these discriminatory practices, subject to deeply damaging tropes that degrade and demean their music and art.
This research is urgent and necessary.”