In building a better live music sector we need to think through an intersectional lens. What you can learn from the Next Stage Snapshot 2024.

In disability justice spaces, there is a concept called Crip Time. This is the energy and time you must invest in creating access for yourself in a disabling world.

To help draw a financial picture of what Crip Time looks like, here’s what Scope has to say: “On average, disabled households need an additional £1,010 a month to have the same standard of living as non-disabled households.”

How does this translate to live touring? An artist with access requirements would need to consider preparing accessible transportation, hiring a PA to assist, communicating access needs to a promoter, and finding accessible rehearsal spaces - all before creating a setlist for your tour.

We know that disabled musicians earn on average £4,000 less than their disabled peers. Artists have shared with Attitude is Everything that they have refused to play at venues and festivals due to the lack of accessibility.

Eliminating the pay gap requires live music to be financially viable, and that accessibility features are not offset by disabled artists’ earnings.

“As a disabled artist working independently in the industry, I have to make tough decisions regarding which festivals and venues I play because of the hidden financial cost it takes to overcome the barriers to accessibility I often encounter” Rob Maddison, Artist Ambassador for Attitude is Everything and FAC

If we consider how racism, sexism, classism, homophobia, and transphobia can also be psychologically disabling to your mental health, we urgently need to create social rest by practicing communal care in an intersectional way. Learn more about how we explored intersectionality in our recent Black History Month event.

In late 2023, we interviewed 71 artists with access needs. Through the Next Stage Snapshot, we found that only 20% of artists felt confident in sharing the access needs to a promoter. The lack of confidence might be explained by fear of discrimination and inconsistent application of requested access requirements.

To get even deeper, our artists felt venues and festivals had to address the following areas first:

Promoters, venues or festivals not asking about access requirements (65%)
Venues and festivals not sharing detailed or accurate enough information about their access. (55%)
Access being provided for customers but not artists or staff (47%)

We all have a role in reducing the pay gap disabled artists face. But first let's dispel some myths so we don’t have to repeat the same conversations.

Myth one: It’s okay to ignore an access reasonable adjustment

Requesting reasonable adjustments without stigma is protected by the Equality Act 2010 for freelancers and employees. Victimisation is a form of discrimination listed under the act, therefore an artist should not fear asking. Furthermore, implementing a reasonable adjustment needs to be effective and have impact. For example, this could look like ensuring you have an accessible bathroom backstage that is regularly cleaned.

Myth two: Reasonable adjustments are not a priority and are too expensive to implement

Routing and advancing are critical aspects of every tour. Incorporating reasonable adjustments into budgets and production plans ensures that artists can perform safely. The Equality Act 2010 ensures reasonable adjustments do not put responsible parties at financial risk, hence the term reasonable. By being transparent with features of your venue and seeking out alternative solutions can help you to build trust.

You can also look at alternative sources of income. For example, grants (such as PRS Early Promoters Fund), pooling resources like ramps across local grassroot venues, and creating fundraisers for access support pots. Check out our DIY guide, to see some low-cost wins. It’s important to note reasonable adjustment costs shouldn’t be pushed onto disabled artists.

Myth three: Non-disabled and neurotypical artists have no role in the conversation

If you’re sharing a stage with someone who is disabled, neurodivergent or Deaf be mindful when sharing backstage areas. Some artists also create their own festivals, so having access riders as part of your booking conversations is critical. Your band members might have access needs. Using tools such as access riders can support you in having conversation about accommodating your colleague. All these suggestions seek to support a disabled musician’s agency.

What we are doing at Attitude is Everything to make the music industry more accessible

Updating our Live Event Charter to include more provisions for artist access
Collaborating with Musicians Union to support the adoption of access rider
Building an Accessible Funding Guide, so people are aware of what access support they can get in applying to grants.

If you are a Deaf, disabled and neurodivergent artist impacted by the issues highlighted in this blog, consider joining our membership for free. You will have access to peer-support groups, workshops and funding opportunities highlighted in our mailing list.

FAC Insights: Touring costs are not a new barrier to disabled artists with Hillary Juma (Attitude is Everything)