Michael Kiwanuka, the acclaimed British singer-songwriter, has opened up about the increasing financial difficulties musicians face, especially in the live touring.
In a recent interview with Music Week, Kiwanuka expressed concerns over the rising costs of live performances, which he fears may deter up-and-coming artists from experiencing the crucial connection that live shows bring between musicians and their audiences.
Preparing to release his fourth studio album, Small Changes, Kiwanuka spoke candidly about the financial burden of touring, particularly its toll on his career.
After a busy festival season in 2023, Kiwanuka described how the costs associated with live performances left a significant dent in his earnings.
“I just finished festival season, and I could feel the hole it made in my pocket,” Kiwanuka said.
“For artists that make music that has a human touch to it, you need to tour to connect with people. That’s something you can’t replicate.”
For Kiwanuka, live performances are essential to building a relationship with fans, creating a unique synergy that is difficult to achieve through streaming platforms alone.
He believes that touring is crucial for promoting new music and giving back to the fans who support his work.
However, he acknowledges that for many artists, particularly those just starting out, the financial strain of touring may become an insurmountable barrier.
Kiwanuka’s concerns echo findings from a recent report by PIRATE, a network of rehearsal and recording studios, which revealed that 88 per cent of artists have noticed an increase in touring and gigging costs in recent years.
Even more troubling, 72% of artists surveyed reported that they do not profit from touring.
In comparison, 24 per cent disclosed that they lost money on the road.
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The financial struggles of live performances pose a significant challenge to new artists attempting to build their careers.
Kiwanuka worries that the quality of new talent may decline as a result, as many musicians may need help to afford the necessary touring experience that fosters audience connection and growth.
“If it gets too pricey, you can’t do that,” Kiwanuka stated.
“I worry that the quality of artists we produce may diminish because they don’t learn the grassroots, what it is to play and connect with your audience.”
His sentiment is not an isolated one.
Several other musicians voiced concerns about the growing costs of touring earlier in the year.
Members of Blur, the now-defunct band Easy Life, and Get Cape. Wear Cape. Fly shared their frustrations with NME, with many explaining how they had to cancel tours due to financial infeasibility.
Easy Life’s frontman, Murray Matravers, revealed that his band had to scrap both their European and North American tours despite their previous successes, as they faced losses that would amount to tens of thousands of pounds.
“We live in a world where a moderately successful band can’t play France and make it work financially,” Matravers said.
“It’s a pretty messed-up situation for artists.”
Artists’ struggles are exacerbated by the rapid closure of grassroots venues across the UK.
According to David Martin, CEO of the Featured Artists Coalition (FAC), the rate of venue closures, mainly smaller venues, profoundly affects artists’ ability to build fanbases through live performances.
His remarks came during a report presented at Westminster in February 2023, which highlighted the need for the more prominent players in the industry to contribute more to supporting grassroots music.
Martin explained that with small venues, many artists can scale back their live shows or rely on favours from others just to cover costs.
This stunts the development of new talent and audiences, which Martin sees as essential to the future success of the UK’s live music sector.
“Across the FAC’s artist community, there is growing discontentment about this issue—and the lack of acknowledgement from the wider industry,” Martin noted.
“There are many artists who have built significant fanbases for their recorded music but who cannot make the economics of domestic touring stack up.”
The challenges of touring have been further complicated by the UK’s exit from the European Union.
Many musicians have spoken about the added difficulties of touring in Europe in the aftermath of Brexit.
New trade barriers and regulations make it more difficult for UK artists to play in the EU.
Best For Britain CEO Naomi Smith described the situation as “insanity,” explaining that the government’s refusal to adjust the Brexit deal for musicians hurts emerging talent.
“Music is arguably Britain’s most famous export, so it’s just insanity that the government is refusing to improve the Brexit deal for UK musicians,” Smith told NME.
“The bigger artists that operate as large corporations can get workarounds with the trade barriers, but the smaller ones are struggling.”
Despite the industry’s challenges, Kiwanuka remains committed to supporting new talent.
In his Music Week interview, he revealed plans to revive his record label, Movement, to help younger artists establish themselves in the industry.
While the label didn’t fully take off when it was first launched, Kiwanuka sees it as a way to stay connected to future generations of musicians.
“Having my own label or own outfit someday would be really nice, especially as I get older and younger artists are coming through,” Kiwanuka said.
“It could be one way to offer a place for young songwriters, artists that are doing their own thing, carving their own lanes, to have a place to start.”
Kiwanuka’s forthcoming album, Small Changes, will be released on November 15 via Geffen.
With this project, he hopes to reconnect with fans and continue building his legacy as one of the UK’s most respected musicians.
