A recent investigation into racial inequalities within London’s live music events industry has revealed that Black and South Asian-led music events encounter disproportionate cancellations, restrictions, and licensing challenges compared to white-led events. The findings highlight significant economic losses for the city and raise concerns about ongoing discriminatory practices in event licensing.
The Race Equality in Music Event Licensing (REMEL) report, conducted over two years and led by Black Lives in Music, evaluated the impact of these disparities across the capital. It estimates that the cancellation, displacement, or prevention of events costs London between £127 million and £141 million annually, with projected losses potentially exceeding £650 million over five years.
The investigation found that genres such as Afrobeats, drill, and dancehall are frequently categorized as “high risk” despite limited evidence to justify such assessments. In contrast, events featuring indie, pop, and rock music generally face fewer licensing hurdles. Reggae events targeting older audiences, jazz performances, and community gatherings were also noted as subject to stringent restrictions.
A key concern raised by the report is the reliance on unverified police intelligence in licensing decisions. Promoters reported that events were often canceled based on undisclosed information, online searches, or unrelated incidents rather than clear, documented risk factors. This opaque process leaves those affected with limited explanations or recourse.
Charisse Beaumont, chief executive of Black Lives in Music, emphasized that while the study focused on London, similar issues exist nationwide. She stressed that the problem transcends musical genres and is fundamentally about race. The two-year investigation was commissioned by the mayor’s office and carried out with support from the Greater London Authority, the Metropolitan Police Service, UK Music, LIVE (Live music Industry Venues & Entertainment), and the Musicians’ Union.
The report’s findings suggest that the legacy of the Met Police’s Form 696—a controversial risk assessment tool scrapped in 2017 amid accusations of racial bias—continues to influence licensing practices. Dr. Hakeem Stevens, the lead researcher, noted that police scrutiny now occurs through informal channels such as phone calls and conversations, making it difficult to document or challenge.
Black and Asian performers remain subject to greater scrutiny compared to white artists, even when performing the same genres. Promoters also face significant financial burdens in security costs and legal challenges, with cancellations potentially causing reputational damage and mental health effects.
Beaumont cited the example of the Colour Factory, a Black-owned venue whose license was suspended following an unrelated incident nearby. Although the owner successfully appealed the decision, the venue suffered financial losses, including legal fees and staff reductions. The report also observed that while many white-owned venues receive support to resume business after incidents, Black-owned venues often endure prolonged closures.
Kwame Otiende, a venue owner and Green Party councillor, pointed out that the increased scrutiny discourages venues from hosting events featuring Black and South Asian artists. This pressure leads some venues to prioritize commercially safer options to avoid regulatory difficulties.
The REMEL report offers 19 recommendations aimed at increasing transparency and fairness in event licensing. These include calls for independent reviews, clearer evidence criteria, better reporting of licensing decisions, and stronger accountability measures.
Neerav Patel, a commander with the Metropolitan Police, stated the force would carefully consider the report’s conclusions. He affirmed that the Met remains committed to contributing fairly and evidence-based to licensing decisions while balancing the interests of venues, promoters, artists, local communities, and public safety.