The United Kingdom likes to think of itself as a natural-born music nation, as if great bands simply emerge from our culture alone. From The Beatles to Bowie, British music is believed to be in constant supply. But while the UK commends itself on past musical glories, just across the Irish Sea, a boom in artists has emerged.
Irish musicians, such as Fontaines D.C, CMAT and Inhaler, have taken over music charts and dominated recent music festivals. This encompassing music scene derives not only from passion, but also from government policy. Ultimately, if Ireland is proving that government support can fuel a thriving music scene, why is the United Kingdom doing the opposite, and what would it take for that to change?
In 2022, the Irish government launched a pilot Basic Income for the Arts scheme. Around 2,000 artists, including musicians, receive a regular weekly payment of €325 per week. It isn’t dependent on how many streams they get or tickets they sell. The aim is to provide financial stability to musicians, allowing them the freedom to produce quality music away from the stress of financial insecurities. Clearly, they are reaping the benefits from this scheme. In the past four years, there has been a spike in the popularity of Irish music, demonstrating how success can come from cultural generosity and a long-term investment in performers.
By contrast, the UK music scene increasingly feels hostile to new musicians. Streaming pays next to nothing, touring costs are rising, while rehearsal spaces and grassroots venues are closing. Furthermore, music education in state schools has been repeatedly defunded and ignored by governments. Frankly, the UK is coasting on a past musical glory, a glory that simply cannot thrive in the new economic state of the country. More worryingly, the UK sometimes goes beyond neglect and into hostility.
The treatment of Northern Irish rap group Kneecap has become a clear example of this. Rather than being supported as cultural voices, the group have faced intense political and legal scrutiny over their lyrics and performances. Regardless of whether you like their music, the message sent is clear- certain kinds of artistic expression are treated less as culture and more as a problem to be managed. In the UK, artists are expected to be profitable, but not political. To be successful, within an atmosphere that does not facilitate triumph. It is hardly an environment that encourages innovative or daring work.
Ultimately, Ireland treats music as crucial to culture and society, whilst the UK treats it as a hobby. As Ireland invests in its artists and the United Kingdom relies on nostalgia, an awkward question emerges: how long can Britain keep calling itself a music nation without actually supporting its musicians?
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