Issue 76 / April 2017

LIVERPOOL,
Is Liverpool really a global music
city? Ahead of a public discussion
at Constellations on 4th May and a
research project into the health of
Liverpool’s music ecosystem
conducted by LJMU, Craig G
Pennington makes the case for a
Liverpool City Music Office, run by
us – the city’s music community.
On 17th February 2017, the world’s first Music Tourism
Convention took place in Liverpool. Drawing in
speakers and delegates from Tennessee to Berlin,
Amsterdam to Jakarta, Perth to Pontypridd, the event
provided an opportunity for cities around the world to share
their knowledge and experience of utilising music as a tool in
attracting the tourist buck to their shores. The event was broad
and enlightening; from blues trails across the southern states of
the USA to grassroots organising in Paraguay, it re-imagined the
role of music and tourism in struggling city districts.
The view many of these visitors held of Liverpool (or the
version of the city positioned at the event) was striking; our city
as a beacon, a world-class music tourism destination and a truly
global music city. But, is that really the case? True, our city has a
world-class music heritage, as well as a bubbling music tourism
industry selling that version of itself, but is Liverpool really a
global music city today?
At Bido Lito! we have consistently lamented a lack of joinedup
thinking and strategic planning around music in Liverpool.
Cities across Europe – Utrecht, Groningen, Mannheim to name
but three – with little or no music heritage, invest heavily in
specific departments to support and develop music in their
city. This support is considered and planned across artist
development, music education, music business development,
music-friendly city policies, city planning, tourism – practically
each and every element of city life – to ensure that music can
flourish, bringing its associated social, cultural and economic
benefits to the city. And, importantly, this support is developed
and implemented in partnership with the city’s music makers,
educators and industry.
We believe that the time has come for this to happen
in Liverpool.
At the end of 2015, Liverpool was awarded the status of
UNESCO City Of Music “…due to music’s place at the heart of
Liverpool’s contemporary culture, education and the economy –
from the vibrant live music scene to tourism, music management
courses and digital businesses”. According to UNESCO, the
award is intended, “…to focus cultural policy and activity in
relation to music in the city, delivering a more joined up and
visible music offer.” Over a year on, and despite the best efforts of
a small number of under-resourced individuals, this agenda is yet
to kick in. Like many music organisations in the city, we see the
need to embrace this moment. This is an opportunity to rethink
what music means to Liverpool and create a new, community-led
approach to music policy in the city.
We all know that Liverpool City Council faces a precarious
financial future. Mayor Joe Anderson confirmed at February’s
Culture Sector Consultation that the austerity agenda is on
course to result in a £470 million real term loss to the city
between 2010 and 2020. Council tax revenues remain painfully
lean; Liverpool has 70,000 more people than Bristol but receives
£38million less in council tax revenue because of lower property
values. It is unrealistic to expect the City Council to provide
strategic leadership around the city’s music agenda when such
acute pressures exist on them to provide core services. They are
also detached from the music culture that we, as a community,
intimately understand. We need to move away from the idea of
leadership and resource coming primarily from the public purse
as this leadership needs to come from the people best placed
to deliver it; us, the music community of Liverpool. We need a
Liverpool City Music Office; a strong, independent voice that can
champion, support, and ultimately, invest in music in the city.
But first, we need to ask some honest questions. What does
music really mean to Liverpool in 2017? How is it valued? How
healthy is Liverpool’s music ecology? Is Liverpool’s Music Tourism
offer truly world-class and what role does new music play within
it? In terms of its policies around noise, planning and the role
of music in the built environment, does Liverpool have a global
music city outlook? How good are we at developing the next
wave of artists in the city? Is Liverpool an international hub for
music business? How joined up is the city’s music industry and
music education offer?
Fundamentally, what is the future of music in our city? Who
is protecting it and who is fighting for a future with music at the
centre of the civic agenda?
When we think of the numerous and various flash points over
the years Bido Lito! has been active, it is hard to make the case
for Liverpool – in terms of the built environment, at least – to
be considered a city with music truly at its heart. From noise
abatement notices to planning decisions, and fracas around
busking to council rates fallouts, venues such as The Kazimier,
Static Gallery, 24 Kitchen Street, Constellations, MelloMello,
Wolstenholme Creative Space, Nation and a whole raft of others
have had their run-ins with the city. The particular issues at play
across each of these situations are diverse and specific, but what
is universal is the situation that results; a venue pitched against
the bureaucracy of the City Council.
This doesn’t work for anyone, least of all the venues
concerned. It also does little to help the council understand the
subtly of the issues at play and the potential impact on our city’s
music ecosystem. Because the reality is that there are few areas
of civic life that don’t have an impact on music in the city, a point
referenced in The Cultural Value of Live Music report – produced
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