But people across the sector are hoping they don’t stop there and the new government takes a keener interest in an industry that, according to UK Music, contributes £6.7bn to the economy and employs more than 210,000 people.
We speak to a range of industry figures about the challenges they are facing and what they want to see now Labour are in power.
‘Festivals can’t make ends meet’
Rachael Greenfield is the festival director of Bloodstock, an annual rock and metal event in Derbyshire that is family run and sees around 20,000 gather in a field each summer.
But as an independent festival that is only a fraction of the size of the likes of Glastonbury, it has been hit harder by a range of issues impacting the wider music industry.
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“Running a festival is always a huge challenge anyway, because you have got to know your market… and getting the right line up for any festival is tough enough,” she said.
“But then 2020 hit. We were facing Brexit, which while we knew it was coming, created its challenges with bands coming into the UK – it is not as attractive as it is to do tours in Europe now, so that has increased costs to get certain bands that we really want to play.
Image: Rachael Greenfield (r) and her sister Vicky Hungerford are directors of the family affair that is Bloodstock festival Pic: Bloodstock
Rachel praised the previous government’s Cultural Recovery Fund during COVID, saying it saved the event. But that only got them through the worst patch, and it will take at least another five years to recover completely.
Alongside the Association of Independent Festivals, Bloodstock is petitioning the government to give the events side of the industry a 5% VAT break on ticket income for three years to “allow us to breathe, regroup and basically get us onto solid footing and stop these festivals falling by the wayside literally every other day because they cant make ends meet.”
Rachel adds: “Ticket companies are seeing all these festivals going out of business and are becoming very nervous and withholding funds – all the ticket income – until post-festival.
“Well, if you are a huge corporate festival, that’s not such an issue, but when you are a small independent, if you have 70% of your entire festival’s operational costs in advance, you rely on that income or a proportion of it to see you through that year.
“With no ticket income, where you have already gone two years where you haemorrhaged so much money, there is only so long you can go before you say, look I can’t do this anymore.”
‘Nobody can afford rising rates’
Music venues across the country, especially at the grassroots level where every artist and band starts out, are also under growing pressure.
And of those that remained open, 38% reported making a financial loss.
Ali and Matt Barnwell, owners of The Fighting Cocks live music venue in Kingston-Upon-Thames, are among those struggling to make ends meet.
“At the top level it’s making enough to pay the bills,” says Matt, who works on the issues of profitability for the MVT. “That’s driven by cost of labour and cost of entertainment, often fixed costs which are therefore disproportionately felt by smaller venues like ours.
“The pub side of the business is much easier to scale and far more flexible based on trade, but the barrier to entry on the live music side is so much higher.”
Image: The Fighting Cocks has been offering live music since the 1930s, but is struggling to make ends meet Pic: Ali Barnwell
The key appeal to the government for him is ensuring business rates don’t rise again.
“Absolutely nobody can afford for these to go back up,” he added. “Alongside this, easier access to grants and funds to support venue management and industry development.”
Ali also said the wider cost of living crisis was hitting them hard, and more support for gig goers at home would help the industry too.
“Fewer people are coming to live shows across the board and getting people to buy tickets in advance is a much bigger challenge than it once was,” she said.
“We’ve also seen the volume of no-shows to gigs climbing. Generally we’re seeing people not wanting to plan in advance or stick to those plans even if they do.”
‘Nobody goes from their bedroom to playing Wembley’
Sarah Pearson, co-founder of the Beyond The Music conference – something she describes as “a democratic version of Davos for the music industry” – says the sector in the UK is too “top heavy”, with the likes of Ali and Mat suffering.
“It is a growth economy at the top for a few, and it isn’t working for the rest of us as an economic model,” she said. “That needs urgent solutions and there does not seem to be much urgency.
“For example, artists who have record deals or who are trying to become bigger and get better at their art don’t have anywhere to play because the grassroots music venues have closed.
“But also acts aren’t playing out as much as they can’t afford to. Costs have gone up, so promoters can only afford to put on gigs that will definitely sell.
“And actually, when you are growing, you need to be able to play to five or six people to get better and to grow your audience.”
The Fighting Cocks’ Ali agrees, adding: “It’s about appreciating the role grassroots venues play in the wider music ecosystem.
“The Music Venue’s Trust have been doing a great job of showcasing how venues like ours act as the research and development for the industry as a whole.
“Nobody goes from their bedroom to playing Wembley. There’s huge amounts of money at that top level and so little of it for those of us taking the risks on a band’s first show.”
For Beyond The Music’s Sarah, she says there is a call across the industry for more investment from large music companies into the grassroots to then be matched by the government.
“Basically it would reflect the Football Foundation, where the Premier League clubs invest in the grassroots, and the idea is the same would happen in music,” she said.
“We could create a growth plan that was really exciting for grassroots from those who deservedly earn a lot of money from music.”
‘Music is Britain’s contribution to the world’
British punk and folk singer Frank Turner has long campaigned for grassroots music venues to ensure the future of the industry thrives in the UK.
But he also wants more help for the artists themselves.
“I fell in love with rock music as a kid – Iron Maiden, to be precise – and I immediately wanted to participate,” he told Sky News. “It took me a long time to work out what that would realistically consist of as a career, and I was helped on my way by Black Flag and punk rock, but the desire was there from the start.
“But making a living is hard. The margins on recorded music have completely collapsed in the last 20 years or so, and they’re getting thinner on touring as well.”
Image: Musician Frank Turner has long campaigned for grassroots venues Pic: Shannon Shumaker
For Turner there was also a “physical and mental strain” for those who pursue a performing career.
“It can be brutally tough,” he adds. “Touring is hard, pushing yourself creatively is hard, and social media makes the whole thing a lot worse. There are more structures in the industry now to help with this stuff, but it’s still a huge challenge.”
However, while he warns of a range of challenges – from rising costs through to the impact of Brexit – what he wants to see from ministers is a shift in attitude towards the music industry.
“The music industry has long been a large, stable employer and a huge net contributor to the Exchequer, and that’s without even mentioning cultural capital,” he said.
“For a long time the industry has been regarded as something of a joke, as compared with, say, the car industry or agriculture, while in reality British music has been one of our strongest contributions to the world, economically and culturally, for a few generations now.
“I think there is a shift starting, I’m more encouraged by our new government than its predecessors, but there is still a way to go.”
‘Let us thrive’
Fiona Stewart, managing director and owner of the Green Man festival in Wales, echoed Turner’s concerns, saying the biggest barrier for her part of the industry was a lack of understanding from government.
“Let’s face it, Britain isn’t the economic powerhouse and producer it once was,” she claimed. “In some ways it would be refreshing for this country to see it as it is right now – a small country that has got a fantastic creative industry, and many other industries, which can be agile and contemporary and produce and inspire.”
Image: Green Man’s festival director Fiona Stewart Pic: Green Man
Fiona added: “With all the divisions we face right now… things like music bring people together, and it is needed. It has a power and it would be wonderful for the new government to recognise that but in a much more strategic way.
“That’s what we need. We need strategy. Not just big funding moments or a big statement. A proper strategy to understand what is going on over a period of years and proper investment at the proper time like any business person would do.
“It would bring more respect to the industry and let us thrive where we can.”
A government spokesperson said:“The music industry is a serious national asset that plays a major role in our national identity, and delivers huge benefits for our economy. We are absolutely committed to supporting the sector to thrive, including our festivals and vital grassroots music venues, and ministers are considering a range of policy options.
“As part of our ambitious plans, we want to see stronger efforts from the industry to create career opportunities for more people from diverse backgrounds, to draw upon the wealth of talent that exists across the country and drive economic growth in our communities.”
Gossip Girl actress Michelle Trachtenberg died as a result of complications from diabetes, New York City’s medical examiner has said.
The 39-year-old, who was also known for Buffy the Vampire Slayer and Harriet the Spy, was found dead at her home in New York City after officers responded to a 911 call on 26 February.
According to a source quoted by Sky News’ US partner network NBC, she had recently received a liver transplant.
At the time of her death, officials said no foul play was suspected, and the medical examiner’s office had listed her death as “undetermined”.
Trachtenberg’s family had objected to a post-mortem, which the medical examiner’s office honoured because there was no evidence of criminality.
But the medical examiner’s office said in a statement on Thursday it amended the cause and manner of death for the actress following a review of laboratory test results.
Trachtenberg was best known for her role as Dawn Summers in Buffy, the younger sister of the title character played by Sarah Michelle Gellar between 2000 and 2003.
Between 2008 and 2012, she played Georgina Sparks on Gossip Girl – the malevolent rival of Blake Lively’s Serena van der Woodsen and Leighton Meester’s Blair Waldorf.
She also starred in the movie 17 Again, where she portrayed daughter Maggie O’Donnell, comedy film Eurotrip and the 2005 teen film Ice Princess.
In 2001, she received a Daytime Emmy nomination for hosting Discovery’s Truth or Scare.
Seven years after allegations against him first emerged online, Harvey Weinstein is back in court.
When the accusations surfaced in late 2017, the American actress Alyssa Milano tweeted: “If all the women who have been sexually harassed or assaulted wrote ‘Me too’ as a status, we might give people a sense of the magnitude of the problem.”
This gave birth to what we now know as the #MeToo movement and a flood of women – famous and not – sharing stories of gender-based violence and harassment.
Weinstein, 73, was jailed in 2020 and has been held at New York’s notorious Rikers Island prison complex ever since.
On 15 April, jury selection for his retrial got off to a false start, with none of the 12 potential candidates or six alternatives being deemed suitable. One, an actor, described Weinstein as a “really bad guy” and claimed he could not remain impartial. A woman also bowed out after declaring she had been the victim of sexual assault.
Once jurors are selected, the original charges of rape and sexual assault will be heard again, with opening statements and evidence due to start on 21 April.
Here we look at why there’s a retrial, why Weinstein will likely remain behind bars – and what has happened to #MeToo.
Why is there a retrial?
Weinstein is back in court because his first two convictions were overturned last April and are now being retried.
In 2020, he was sentenced to 23 years in prison after being found guilty of sexually assaulting ex-production assistant Mimi Haley in 2006 and raping former actor Jessica Mann in 2013.
Image: Miriam (Mimi) Haley arrives at court in New York in 2020. Pic: AP
Image: Jessica Mann outside court in Manhattan in July 2024. Pic: AP
But in April 2024, New York’s highest court overturned both convictions due to concerns the judge had made improper rulings, including allowing a woman to testify who was not part of the case.
At a preliminary hearing in January this year, the former Hollywood mogul, who has cancer and heart issues, asked for an earlier date on account of his poor health, but that was denied.
Image: Arriving at court for his original trial in New York in February 2020. Pic: Reuters
When the retrial was decided upon last year, Judge Farber also ruled that a separate charge concerning a third woman should be added to the case.
In September 2024, the unnamed woman filed allegations that Weinstein forced oral sex on her at a hotel in Manhattan in 2006.
Defence lawyers tried to get the charge thrown out, claiming prosecutors were only trying to bolster their case, but Judge Farber decided to incorporate it into the current retrial.
Weinstein denies all the allegations against him and claims any sexual contact was consensual.
Speaking outside court on 15 April, his lawyer Arthur Aidala, said he was “cautiously optimistic that when all the evidence is out, the jury will find that all of his relationships were consensual and therefore reach a verdict of not guilty”.
Why won’t he be released?
Even if the retrial ends in not guilty verdicts on all three counts, Weinstein will remain behind bars at Rikers Island.
This is because he was sentenced for a second time in February 2023 after being convicted of raping an actor in a Los Angeles hotel room in 2013.
Image: At a pre-trial hearing in Los Angeles in July 2021. Pic: Reuters
He was also found guilty of forcible oral copulation and sexual penetration by a foreign object in relation to the same woman, named only in court as Jane Doe 1.
The judge ruled that the 16-year sentence should be served after the 23-year one imposed in New York.
Weinstein’s lawyers are appealing this sentence – but for now, the 16 years behind bars still stand.
Has #MeToo made a difference – and what’s changed?
“MeToo was another way of women testifying about sexual violence and harassment,” Dr Jane Meyrick, associate professor in health psychology at the University of West England (UWE), tells Sky News.
“It exposed the frustration around reporting cases and showed the legal system was not built to give women justice – because they just gave up on it and started saying it online instead.
“That was hugely symbolic – because most societies are built around the silencing of sexual violence and harassment.”
Image: Women on a #MeToo protest march in Los Angeles in November 2017. Pic: Reuters
After #MeToo went viral in 2017, the statute of limitation on sexual assault cases was extended in several US states, giving victims more time to come forward, and there has been some reform of non-disclosure agreements (NDAs), which were regularly used by Weinstein.
This has resulted in more women speaking out and an increased awareness of gender-based violence, particularly among women, who are less inclined to tolerate any form of harassment, according to Professor Alison Phipps, a sociologist specialising in gender at Newcastle University.
“There’s been an increase in capacity to handle reports in some organisations and institutions – and we’ve seen a lot of high-profile men brought down,” she says.
“But the #MeToo movement has focused on individual men and individual cases – rather than the culture that allows the behaviour to continue.
“It’s been about naming and shaming and ‘getting rid’ of these bad men – by firing them from their jobs or creating new crimes to be able to send more of them to prison – not dealing with the problem at its root.”
Image: Actress Alyssa Milano tweeted about #MeToo when the Weinstein accusations surfaced. Pic: AP
Dr Meyrick, who wrote the book #MeToo For Women And Men: Understanding Power Through Sexual Harassment, gives the example of the workplace and the stereotype of “bumping the perp”, or perpetrator.
“HR departments are still not designed to protect workers – they’re built to suppress and make things go away.” As a result, she says, men are often “quietly moved on” with “no real accountability”.
The same is true in schools, Prof Phipps adds, where she believes concerns around the popularity among young boys of self-proclaimed misogynist and influencer Andrew Tate are being dealt with too “punitively”.
“The message is ‘we don’t talk about Andrew Tate here’ and ‘you shouldn’t be engaging with him’,” she says. “But what we should be doing is asking boys and young men: ‘why do you like him?’, ‘what’s going on here?’ – that deeper conversation is missing,” she says.
Image: The former film producer on the red carpet in Los Angeles in 2015. Pic: AP
Have high-profile celebrity cases helped?
Both experts agree they will have inevitably empowered some women to come forward.
But they stress they are often “nothing like” most other cases of sexual violence or harassment, which makes drawing comparisons “dangerous”.
Referencing the Weinstein case in the US and Gisele Pelicot‘s in France, Dr Meyrick says: “They took multiple people over a very long period of time to reach any conviction – a lot of people’s experiences are nothing like that.”
Prof Phipps adds: “They can create an idea that it’s only ‘real’ rape if it’s committed by a serial sex offender – and not every person who perpetrates sexual harm is a serial offender.”
Image: A woman holds a ‘support Gisele Pelicot’ placard at a march in Paris during her husband’s rape case. Pic: AP
Image: Gisele Pelicot outside court. Pic: Reuters
Part of her research has focused on “lad culture” in the UK and associated sexual violence at universities.
She says: “A lot of that kind of violence happens in social spaces, where there are drugs and alcohol and young people thrown together who don’t know where the boundaries are.
“That doesn’t absolve them of any responsibility – but comparing those ‘lads’ to Harvey Weinstein seems inappropriate.”
Dr Meyrick says most victims she has spoken to through her research “wouldn’t go down the legal route” – and prosecution and conviction rates are still extremely low.
“Most don’t try for justice. They just want to be believed and heard – that’s what’s important and restorative,” she says.
But specialist services that can support victims in that way are underfunded – and not enough is being done to change attitudes through sex education and employment policy, she warns.
“Until we liberate men from the masculine roles they’re offered by society – where objectification of women is normalised as banter – they will remain healthy sons of the patriarchy.
“We need transformative, compassionate education for young men – and young women. That’s where the gap still is.”
Body camera footage of Gene Hackman’s home has been released by authorities investigating the deaths of the actor and his wife.
The video captured by Santa Fe County Sheriff’s Office shows officers inside and outside the property in northern New Mexico, with a German shepherd barking at some points as they carry out their search.
Image: Hackman and Arakawa pictured in 2003. Pic: AP/ Mark J Terrill
The bodies of Hackman, 95, and his wife, Betsy Arakawa, 65, were found in separate rooms of their home on 26 February.
“He’s guarding her,” a male officer can be heard saying, about the dog found alive at the home. “He seems pretty friendly.”
There is another “10-7 dog” – meaning the pet is dead – “round the corner in the kennel”, the officer says.
Rat nests and dead rodents were also discovered in several outbuildings around the property, an environmental assessment by the New Mexico Department of Health revealed.
The inside of the home was clean and showed no evidence of rodent activity.
In March, a medical investigator concluded Arakawa died from hantavirus pulmonary syndrome, a rare infectious disease that can be caused by exposure to rodents.
Image: Law enforcement officials pictured outside the property in Santa Fe the day after Hackman and Arakawa’s bodies were found. Pic: AP/Roberto Rosales
According to the records now released by the county sheriff’s office, Arakawa was researching medical conditions related to COVID-19 and flu between 8 February and the morning of 12 February.
In one email to a masseuse, she said Hackman had woken on 11 February with flu or cold-like symptoms and that she wanted to reschedule an appointment “out of an abundance of caution”.
Search history on the morning of 12 February showed she was looking into a medical concierge service in Santa Fe. Investigators said there was a call to the service which lasted under two minutes, and a follow-up call from them later that afternoon was missed.
The police footage shows officers checking the home and finding no signs of forced entry or other suspicious signs.
Image: Pic: Santa Fe County Sheriff via AP
What is hantavirus?
HPS, commonly known as hantavirus disease, is a respiratory disease caused by hantaviruses – which are carried by several types of rodents.
It is a rare condition in the US, with most cases concentrated in the western states of New Mexico, Arizona, Colorado and Utah. This was the first confirmed case in New Mexico this year.
There has so far been no confirmation about any potential link by authorities between the rodents and the hantavirus disease that claimed Arakawa’s life.
Who was Gene Hackman?
Image: Pic: AP 1993
Hackman was a former Marine whose work on screen began with an uncredited TV role in 1961.
Acting became his career for many years, and he went on to play villains, heroes and antiheroes in more than 80 films spanning a range of genres.
He was best known by many for playing evil genius Lex Luthor in the Superman films in the late 1970s and ’80s, and won Oscars for his performances in The French Connection and Unforgiven.
After roles in The Royal Tenenbaums, Behind Enemy Lines and Runaway Jury in the 2000s, he left acting behind after his final film, Welcome To Mooseport.
He and Arakawa, a pianist, had been together since the mid-1980s.