Save Our Scene: Preserving Grassroots Formative Venues From Closure

Devastatingly, the economy has finally caught up with us and Australia’s live music scene is suffering because of it. It begs the question “Where will our next generation of musicians play?”

In the past five years alone, we have seen the likes of iconic grassroots venues such as Sydney’s Frankies By The Slice bulldozed to make way for the city’s new light rail system; meanwhile, down the road in Wollongong, RAD bar was forced to vacate the premises to make way for a multi-storey office block. Enigma Bar in Adelaide also sadly disappeared in the blink of an eye last year following a 24-year reign.

Then in Melbourne, The Bendigo Hotel suffered at the hands of financial burdens and just closed at the end of March, while The Tote was precariously saved via people power following a fundraiser set up by fellow small venue Last Chance Rock & Roll. Hell, we even came close to losing the world-renowned Cherry Bar before its relocation in 2019.

Here in Brisbane, we watched 5 Live Music Venues cease operations since COVID hit including Crowbar, King Lear’s Throne and Bad Luck; now joined by fresh casualties Stranded Bar and historical sister site, The Zoo, announcing their foreclosures and making headlines across the city (and country) in the process.

In a lengthy social media post, owner Shane Chidgzey revealed the devastating news citing ‘rising operational costs’ and ‘industry-wide financial pressures decimating venues across the country’ as catalysts for the closure of both The Zoo (ceasing operation on June 8th) and Stranded Bar (closing next Monday, May 6th).

Why these venues are imperative to Australia’s music industry

For the ill-informed, the reason for concern is that for the past 32 years, The Zoo – along with all of the aforementioned venues – served as a nurturing institution for up-and-coming bands to cut their teeth in the local scene, making names for themselves as they grind their way up the industry ladders. This is on top of the severe lack of All Ages venues which all but dried up in the past decade.

In the heavy and alternative music world, these venues play a huge part in the rise and formation of our communities by hosting local and interstate gigs alongside international guests who are still paving their own paths as the next generation of heavy hitters hellbent on world domination.

These events attracted fans from all walks of life – including those just stepping into the community for the first time, through to industry heroes and pioneers still nurturing the new wave of heavy and alternative talent coming up the ranks. Without these venues and the staff operating them, many bands and musicians would miss out on key opportunities to launch their careers further than ever imagined.

Having covered the rise of bands such as Violent Soho, Voyager, Ocean Sleeper, Jinjer, Thy Art Is Murder, Flangipanis, Reliqa, Justice For The Damned, Vilify, Atreyu, WAAX, Windwaker, Gravemind, Being Jane Lane, Dead Letter Circus, The Extortionist, Patient Sixty-Seven… the list goes on… we know first and foremost just how important these concerts can be for all involved – from the bands, to bookers, to staff and punters alike.

Take for example Louise Sanders; bassist and badass from punk rock outfit Being Jane Lane, who not only performed on, and curated various lineups at The Zoo, but also became an integral staff member in the process.

On the news of the closing, Louise shared with Wall Of Sound:

“I remember the feeling of being told we were playing at The Zoo when I was in my early 20s. Well… it was mostly pure fear. Imagine being a local band and you’re getting an opportunity to step out onto a stage that has hosted some of the largest acts from both Australia, and the world. It was mind-blowing. That venue is scary big for a local Brisbane band that’s new to the scene. But it’s a lesson. You learn things and it’s priceless.

I’m privileged to have been involved in that history both as a part of The Zoo crew, and with Being Jane Lane. As a band, we have had countless opportunities due to performances at The Zoo. The doors it opens – for artists playing at these venues – can be so crucial for their growth, especially with events such as BigSound and Mountain Goat Valley Crawl.

To see so many venues falling around you, and then have it happen so close to home… I’m honestly speechless. It’s become clear that the government is more interested in sports than the arts, but seeing your friends who own music venues struggle so hard just to see it all collapse? It’s clear there’s a problem.

From an insider’s perspective, Louise also sheds further light on the struggles these venues are facing in a post-COVID world, four years on from the pandemic.

“Alcohol prices in Australia are absolutely crushing bars. Liquor licenses and security requirements are huge overheads. How do you fight that?”

“I’ve watched The Zoo as a hub. For bands, for friends, for punters and for the community. There will never be anything like it in Brisbane again. All I can say is let’s support the venues that are pushing on, and the ones to come in the future. You can’t stop the music.”

Not every band can afford to hire, or fill up The Tivoli, The Triffid, or Eatons Hill Hotel straight away. You have to do the groundwork performing lower-capacity gigs in order to make an impact and increase your following. Similar venues down the East Coast of Australia – such as Vinnie’s Dive and Mo’s Desert Clubhouse on the Gold Coast, The Hamo in Newcastle, La La La’s in Wollongong and even Tilly’s in Wagga Wagga – open their doors for any/all genres to come through especially those with a much heavier sound that attracts less than the usual societal norm.

Remember – every heavy band has to work twice as hard for attention and support as we’re still considered “niche” to outsiders’ perceptions and by bringing live music to regional or rural areas, it gives back to communities often left off the capital city touring circuits.

But what are these ‘Industry-Wide’ issues causing the closures?

The immediate response from venues we spoke with came with the glaringly obvious rise in the cost of living and rental increases – however, many pinpointed their struggles beginning from rising costs of insurance and public liability – some of which have been increased as much as 200% or more in recent years.

In the nation’s west, Perth’s Badlands Bar cited insurance costs for its closure in December 2023, with several other local venue operators in the area following suit.

“Insurance is destroying music venues. The Federal govt refuses to get involved after relentless lobbying. We have had no choice but to go public… So many have closed down nationally in the past 12 months and there are countless more just like Sooki on the verge of turning off the mic.” – Chris O’Brien (Destroy All Lines General Manager)

The above quote was in regards to the local Melbourne/Belgrave venue Sooki Lounge – which has hosted everyone from Australian acts such as Ocean Grove, Alpha Wolf, Void of Vision, Thornhill, Thy Art Is Murder and Northlane, through to international visitors including Currents, The Story So Far, Touche Amore, La Dispute, While She Sleeps, Loathe, Boston Manor and Movements.

Sookie Lounge‘s owners called upon fellow bars and venue operators to ‘Post Your Public Liability’ on Facebook following dramatic increases along with the below statement, which gives everyday punters an insight into the astronomical demands and financial strains bestowed upon them in recent years which they stated, “To put it bluntly and bleakly, it is killing us all.”

“Last year our Premium went from $12,500 to $50,000 in one year with no previous claims over 10 years of operation. In terms of risk management, we do all the right things, extra guards when not required, using plastic glasses, using security scanners on busy nights, hiring extra bussies to make sure the floor is clean and safe, etc. 10 years ago there were 8 insurers internationally willing to insure a venue such as ours. Over the years that has dwindled quickly down to 1. Last year we did not have insurance for under a month as we could not get it, meaning it was our house, essentially, up for grabs if something went wrong.

Currently, on a good week, we are lucky to break even. While we are working on many exciting paths to re-energize the venue that we truly and energetically believe in, for all Live Music Venues it is ‘backs to the wall’.

This year our Premium went from $50,000 to $60,000 (including finance as we can’t pay the policy outright) and this is considered a WIN.

I am imploring all people in the events sector to post their Public Liability, venues, festivals, etc. Live music venues are like the rivers in our live music sector. If the river is not healthy nor are the artists, sound techs, promoters and the rest of the live music ecosystem. Solution? You tell us, we believe making people more aware of the crisis our industry is facing can only help. We were brought up to believe that if the private sector could not cover certain sections of our community and society then Government would. What does this mean? The Federal/State Government to underwrite the industry at a PROFIT.”

The response from those in powerful positions.

In response to the news, I reached out to local Brisbane-based political leaders for their reactions to The Zoo‘s closing and to implore them to take action before more venues are lost in the current landscape.

Brisbane Lord Mayor, Adrian Schrinner shifted focus to the city’s lock-out laws playing a significant part in his full, un-edited reply:

“The Zoo is a Brisbane icon and its closure will be mourned by generations of local music lovers and musicians alike. I’m sure the sad news of The Zoo’s closure will prompt conversations in homes right across Brisbane about the best bands people saw back in the day. For me, it was watching Spiderbait and Tumbleweed. Many of Brisbane’s greatest musicians got a start at The Zoo, including Powderfinger. Bassist John Collins summed it up best for the industry this morning when he said: “You go and sell out The Zoo and you’re on your way”.

While The Zoo’s owner has said many factors have caused the closure, it’s clear the State Government’s draconian lock-out laws played a role. All the latest figures and feedback indicate Brisbane’s reputation as a great destination to visit is growing, which is fantastic for our local economy. However, we cannot afford to have these lock-out laws act as a handbrake on our success.

The sudden closure of an iconic destination like The Zoo should prompt a proper independent review into whether the lock-out laws are adversely impacting Brisbane’s nighttime economy without doing anything to improve safety.”

Member for Central Ward Cr Vicki Howard, Queensland Premier Steven Miles and Leader of the Opposition Peter Dutton were also approached for comment.

The Opinions of the Public Punters and Gig-Goers.

It was hard to escape the discord from the scene with reports also making their way to mainstream news outlets across the country. Music fans from all walks shared their thoughts online, and many others offered personal insights into their own gig-going ways and a surprising number of calls for alternatives to the Fortitude Valley precinct – some of which we’ve collated below from an r/Brisbane Reddit post – published by Wall Of Sound.

“Brisbane has huge urban sprawl and a lot of people live far out (think Ipswich, Caboolture etc.) that makes going out to the Vally a huge commitment that many don’t make every often. Even living in Northlakes you’re looking at an hour train ride and a $150 Uber home because the train doesn’t run after midnight. I would love to see more live music at suburban pubs.” – Splicer201

“The unequal treatment of sports vs arts/music. If I go to a cricket game, I get free transport. Government looks after the sport teams like their own children and support them in every way they can think of. Tickets for sporting games are also a lot cheaper. Is this due to subsidies and sponsorships? Why can they then not also extend some of this support to other events such as music performances? E.g. free transportation, some public backing of venues/shows, and I don’t even know what kind of tax cuts or concessions the sporting venues get. This in turn will increase the visibility of the industry, leading potentially to sponsors for these shows (as with sport) as well as more patrons. Councils like to support free events in parks and loudly proclaim their involvement. Why do they not also partially sponsor touring artists so the venues can ask reasonable ticket prices?” – Eduard Beneke

“Gigging even without booze is expensive now. I used to live ten minutes out from the valley. I would be there every night or two checking out small venues, seeing whatever bands or events I could. I was able to do that on a student budget. Now I’m a semi-well earning professional and I go to a gig maybe once a month if I’m lucky. By the time you buy a ticket, pay for travel, grab a quick bite and a Coke – you’ve already spent $100+. I -want- to support the local live music scene. I just can’t afford to”. – Shadowfax1007

“I’m a musician living in the suburbs and would love to do more gigs around here, but most areas have practically no arts infrastructure to work with, which makes it incredibly difficult to put anything on (especially when the music you play isn’t really suitable as background noise). The inner city is the only place with enough opportunities to put on shows on a regular basis, at least for me and the people in my circle.” – HenryHadford

“Wondering if it would be possible to move our live music scene into the suburbs. Into the industrial areas where the micro breweries are popping up. Not exactly accessible for everyone but would hate to see our music scene completely die off…” – BlueBirdRays

“Promoters and local bands need to look to the suburbs. There’s 2.5 million people in Brisbane. It’s time for musicians to do something different. Forget the Valley scene”. – Finnigan707

What can we do as a community to keep these remaining establishments alive?

As growing concerns for the future of these grassroots venues are once again raised, attention turns to the now and not-too-distant future – what can we do to support our favourite venues?

Many operators have turned to avenues outside of music and entertainment to combat outdated business models; including offering food, non-alcoholic beverage options and merch as a way to make ends meet. In conducting this investigation, it’s now become clear why some (not all) venues implement merch cuts from musicians which helps pay for their overheads, but in turn, that transaction takes significant revenue away from already struggling artists who are bringing in the crowds – while already touring at a loss.

You see, it’s all connected. It’s all part of this ecosystem we’re trying to navigate without financial aid or support from governing bodies.

As punters, it’s up to us to lead the charge – but when you add into the mix the unbearing cost of living crisis we’re all facing – on top of picking and choosing what we can afford to attend as opposed to want to attend – and with the new-age lifestyle change of hitting up gigs as a sober player, everyone is being stretched beyond their limits.

The Zoo owner Shane Chidgzey suggested an additional tax of between $1-$2 on large-scale events – like your Taylor Swift, Coldplay, Paul McCartney, Guns ‘N Roses and Motley Crue-esque stadium shows – as a way to invest funds back into the smaller local scene.

With that idea comes the dreaded planning of :

Who would be eligible? How would the funds be allocated fairly? Will multinationals weigh in to snap up crucial revenue from smaller venues as we’ve seen with recent flawed Arts Grants? What kind of organisation would be willing to take on such a big responsibility?

If insurance cuts are just a mere blip on the radar for an overzealous industry-wide issue, what more can be done to make it a fair playing field for everyone?

In my opinion, we finally get the balls to tax Religious organisations and Churches and invest that money back into supporting industries that wouldn’t come close to seeing the kind of revenue they bring in. Seems fair right?

At the end of the day, it’s all about creating and maintaining jobs and encouraging community involvement and conversations surrounding the things we love – like music and art. And would you (or more importantly could you) live in a world without art?

I sure as fuck can’t.

Written by Paul ‘Browny’ Brown @brownypaul
CEO/Founder of Wall Of Sound; and avid concertgoer.

In the meantime, reach out to your local members and public servants and express your concerns. Encourage them to act now on these issues before it’s too late.

A list of local Brisbane-based contacts is below, more will be added over time.

Steven Miles – QLD Premiere
Leanne Enoch – Minister for the Arts; Communities
Adrian Schrinner – Brisbane Lord Mayor
Vicki Howard – Member for Central Ward (including Fortitude Valley)
Michael Healy – QLD Minister for Tourism