Scotland’s Art sector Needs saving

Sense spoken? At an awards ceremony? Strange as it seems, artists collecting gongs at the Brit awards had something important to say about the future of the arts in Britain. We should listen.

Usually, one of the last places you would expect to find common sense or self-awareness is an awards show. However, while watching the Brit Awards this Saturday, I was dumbstruck to hear exactly that. More surprisingly, it happened on more than one occasion.

Awards shows are typically lacking in any realistic perspective or messaging that we mere mortals can relate to. So, it was both encouraging and rather worrying to see that even artists at the top of the music industry are catching on to what’s happening at the grassroots level. Encouraging because their influence means more people will take notice. Worrying because things have become so dire that they feel the need to get involved (although not all top artists are completely out of touch).

Barely a speech went by without a nod to the decimation of the music and arts sector at the grassroots, and I’m not just talking about a shout-out to a music teacher or two.

Ezra Collective, the ultra-cool jazz quintet, won Group of the Year (I highly recommend giving them a listen). Their drummer and spokesperson took the opportunity to hammer home the importance of education and funding at the grassroots level, laying bare the fact that they wouldn’t have been there collecting their award had it not been for government-funded youth programmes. He went on to say:

“This moment right here is because of the great youth clubs, teachers, schools.”

“So many of the problems that face greater society in the UK, we’re unsure of how to fix, but the solution lies in giving a young person a trumpet, a saxophone – because when you do that, you give them an aspiration, a goal.”

However, it was Rising Star Myles Smith who first set the tone of the evening, using his moment on stage to not only stand up for artists often at the mercy of boardroom executives but also to call out the Government for its lack of investment in the arts.

“If British music is one of the most powerful cultural exports we have, why have you treated it like an afterthought for so many years? How many more venues need to close? How many more music programmes need to be cut before we realise that we can’t just celebrate success; you have to protect the foundations that make it?”

In the same vein, the bassist from The Last Dinner Party, with big cheers from the crowd, brought attention to grassroots and independent music venues around the UK, which are either fighting to stay alive or closing at an alarming rate.

“We wouldn’t be a band without the UK’s incredible independent venues – they are the lifeblood of the industry, and they are dying.”

Quite rightly, the band also highlighted the glaring disparities between massive venues like the O2 (where the awards were held) and smaller venues that don’t see even a small percentage of what the larger venues earn. She questioned whether it was time for arena operators to contribute financially to grassroots venues, pointing out that the huge stars who grace their stages would be nothing without grassroots venues.

As I said, it’s a rather foreign concept to hear sense at an awards show, but all of these artists—and more—are absolutely right. The music and creative industries, in general, are too often undervalued and exploited, and they are suffering because of it.

Even though none of these artists are based in Scotland, the story is no different here. We roll out the red carpet for the likes of Taylor Swift at Murrayfield and proudly celebrate our international exports like Lewis Capaldi. Yet, dotted around Scotland are numerous once-thriving music venues that are now gone—venues that were essential to nurturing up-and-coming artists. Those that remain are often run by people working for very little just to keep them afloat. Last summer, 170 musicians signed an open letter warning that funding cuts had sparked the worst crisis the industry had ever faced. They believe we are in the midst of a “cultural catastrophe.”

At the mercy of Creative Scotland and government cuts Scotland’s arts scene is, at times, running purely on the goodwill of many talented individuals. Funding is central to this, but it’s not just about the number on the dotted line (though that remains crucial). Last year, in particular, artists were put through the wringer: the closure of one arts fund and the pausing of another meant uncertainty in the sector reached a breaking point.

With austerity, the pandemic’s lingering effects, and the cost-of-living crisis, artists have long been accustomed to a lack of long-term certainty in their funding. At best, they might know where they stand for one to three years, but the constant cycle of funding applications and the looming possibility of losing financial support severely hampers not only creativity and the wellbeing of those in the industry but also the sector’s growth overall. Offering artists, groups, or venues security for only a couple of years is ridiculous. What do we expect them to achieve in such a short time, especially when just starting out? Great art takes time; it must be nurtured. The lengthy applications, which can take weeks to complete, and the lack of understanding from Creative Scotland regarding what being an artist entails needs to change.

The arts should not be seen solely as a money-making mechanism, but the fact remains that they can and do generate revenue. However, this should be done in the right way—not through the over-commercialised, brand-heavy, big-business model that we are currently seeing at the Edinburgh Fringe Festival, for example. If Scotland prioritised the arts properly, it would actually be a bigger economic driver than some of the other industries we focus on. Not for brands, corporations, or landlords, but for the artists themselves and their communities. The arts have always been a reliable economic sector—grassroots arts are good for the economy.

And, of course, the benefits extend far beyond money. As Ezra Collective pointed out, music and the arts are about much more than just singing or painting. They give people ambition, an outlet, a new perspective, and, ultimately, a better quality of life. Children who have exposure to the arts in any form are more likely to experience reduced social inequalities. For some, the arts are a lifeline to a better way of living.

Funding is just the beginning. Any aspect of the arts infrastructure could be examined and found wanting. For example, the late-night music scene and independent venues would benefit immensely from improved public transport. Having to leave a gig early to catch the last train home or having to drive just to ensure you don’t miss the encore is ridiculous.

Scotland can do better. The good news is that we don’t have to reinvent the wheel—other countries are already doing great things. Common Weal has long advocated for an Artist’s Universal Basic Income, a policy that Ireland has successfully implemented and one that Scotland could adopt. A secure funding model that puts trust in artists, without making them jump through hoops every year, would be a game-changer.

A radical new structure, designed by artists for artists, is needed. Public bodies that prioritise administration over art creation should be abolished. Instead, discipline-specific Arts Councils should be established, where practising artists can register, vote for council members, and influence policy and initiatives. These councils, rather than administrators, would shape the future of their respective arts sectors. Additionally, Arts Business Councils—such as an Arts Venues Council and a Festivals Council—would support essential infrastructure. A National Arts Council, composed of representatives from these bodies, would oversee the system, develop national policies, and liaise with the government.

Decentralisation is also a major issue. While transport and communication have improved over the years, we have simultaneously created an industry that implies a career in the creative sector is only viable within the central belt, or worse, London. To address this, we could establish Regional Arts Departments within each Regional Council, ensuring arts provision extends beyond cities. With devolved tax budgets, Regional Councils could fund their arts strategies, monitored by Arts Councils to uphold their responsibilities. Development Councils should have ring-fenced funding to create Culture Centres in every town—converted spaces like disused shops or halls—to host art classes, music practice, book groups, and shared creative facilities. This would normalise artistic participation and encourage creativity for both enjoyment and professional growth.

There is so much more we could be doing to elevate Scotland’s arts sector. The Recreation chapter in Common Weal’s Sorted is a great place to start.

It shouldn’t be the case that we need to look to awards shows for guidance.