national independent venue associationnational independent venue association
Musicians Are Back On the Road, But Every Day Is a Gamble
California Reopens in June. When Can We See Live Music Again?
Music Venues Still Waiting for Funding Three Months After Save Our Stages Act
2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help
Three Congressional Bills Could Help Save Independent Music Venues
With No Timeline for Reopening, SF’s Independent Venues Seek Lifeline
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"title": "Musicians Are Back On the Road, But Every Day Is a Gamble",
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"content": "\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” [aside postid='arts_13918908']\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. [aside postid='arts_13918796']\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” [aside postid='arts_13919062']\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year was a career-defining one for Tia Cabral, the experimental singer-songwriter known as \u003ca href=\"https://www.spelllingmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Spellling\u003c/a>. With her 2021 album \u003cem>The Turning Wheel\u003c/em>, she evolved from bedroom artist to maximalist composer, enlisting over two dozen instrumentalists to execute her surreal vision. It caught on: The album got rave reviews, and by the end of the year, new fans from across the world had begun asking when they would see her in concert.\u003c/p>\n\u003cp>Cabral had hesitations about pandemic-era touring. The infection rates for COVID-19 had returned with a force after receding that summer, and she knew that indoor gatherings of strangers are the exact setting where risk of exposure to the virus multiplies. But she also sensed a moment of hard-won opportunity that would not last forever. “It was too hard to turn it down [because of] my eagerness to share the music that I spent so long writing,” the Oakland artist says. “I’m like, I just want to do it.” She booked a short European trip for May and June 2022 consisting of outdoor festival gigs, which she figured would be safer than playing clubs.\u003c/p>\n\u003cp>Things went well at first: Cabral and her band kept interactions outside their bubble to a minimum, wore masks as much as possible and agreed to test for COVID immediately if anyone felt unwell. But the mood changed in early June, when they arrived in Barcelona for the sprawling Primavera Sound festival. “It’s called Primavera in the City—it’s literally all over the city. There are so many people everywhere you go,” Cabral says. “So it became really hard to avoid, and stick to our regimen.” Finally, at a stop in Portugal, a bandmate tested positive. Cabral made the tough call to cancel her remaining shows, and paid for her collaborator’s quarantine in a hotel. “It just isn’t right to move forward into the unknown and into this risk for ourselves and other people,” she says.\u003c/p>\n\u003cp>Obstacles like the ones Cabral encountered are now features of life on the road. COVID rates in the U.S. stayed relatively high this spring and summer, and have only recently begun to dip (though the official stats don’t account for unreported home tests). But beyond the numbers, many musicians have found a set of complex and wearying tradeoffs await them on tour lately. The maze-like logistics of COVID safety are theirs to navigate, with little support from governments or their industry. Mask mandates and similar risk-reduction policies have evaporated. And audiences, perhaps starved for social connection and a sense of normalcy, have largely reverted to pre-pandemic behavior. For those operating below the very highest levels of success and infrastructure, the increased health and financial risks of mounting live music—and the burden of trying to avoid them—tend to fall hardest on the individual performers.\u003c/p>\n\u003cp>“We’re not health officials or experts,” says \u003ca href=\"https://www.panacherock.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Panache Booking\u003c/a>‘s Michelle Cable, who manages Spellling, Ty Segall, Mac DeMarco and others, and books tours for artists such as Bikini Kill and Ezra Furman. “It’s added a whole other extra layer of complication and stress to touring, which is already stressful without what’s happened in the last two to three years.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>A domino effect of financial losses\u003c/h3>\n\u003cp>Brijean Murphy is one half of the Los Angeles disco-house duo Brijean and a touring percussionist with the bands Poolside and Toro y Moi. Prior to the pandemic, Murphy toured six months out of the year, and was well-acquainted with the job’s common headaches: the busy travel schedules, cramped conditions and missed sleep, often without a huge financial payoff at the end. But lately, she says even the more mundane parts of road life—like flying on planes, where masks are no longer required—now come with “financial, personal and spiritual repercussions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, the bands Murphy works with have avoided going on long runs like they used to; she’s played a few Brijean shows and some one-offs with Poolside. Despite masking and regular testing, she came down with COVID-19 in May after a string of European concerts, and had to quarantine on the East Coast. As if it weren’t enough to be sick, alone and burning money while stranded far from home, healing time from COVID can be unpredictable—the CDC estimates that nearly one in five U.S. adults experiences \u003ca href=\"https://www.cdc.gov/nchs/pressroom/nchs_press_releases/2022/20220622.htm\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms lasting more than three months\u003c/a>—which can delay a musician’s return to the stage well after they’ve ceased to be contagious.\u003c/p>\n\u003cp>“There are just so many moving parts,” Brijean says, describing her stress. “And I think on top of everybody being worked so hard, your dollar doesn’t go as far as it used to.”\u003c/p>\n\u003cp>Indeed, inflation hit a 40-year high in June and has come down only slightly, adding more financial pressure as musicians attempt to bounce back from two years without performance income. And as the BA.5 variant spread, show cancellations due to COVID were commonplace throughout the summer. Bikini Kill called off nearly two dozen shows when several members got sick. Blondie, touring in support of a career-spanning box set, canceled or postponed dates in Boston, New York and Connecticut. Rakim canceled his European tour, which was supposed to take place in August.\u003c/p>\n\u003cp>“After a month in which we have had several COVID cases in our crew and even more close contacts requiring quarantine, it is our sad consensus that extensive foreign travel (in my case by cruise ship) is neither safe nor logistically possible,” the \u003ca href=\"https://rockthebells.com/articles/rakim-cancels-his-2022-european-tour-amid-covid-concerns/\" target=\"_blank\" rel=\"noopener noreferrer\">rap veteran wrote\u003c/a> in a statement.\u003c/p>\n\u003cp>So what happens when shows are canceled due to COVID? If they aren’t able to reschedule lost dates, artists are obligated to refund tickets and, if applicable, give venues back their deposits. Cable says musicians who travel with a crew typically have agreements for how to compensate them in the event of cancellations; these vary, but a typical one might require paying everyone half their wages. Travel may need to be rebooked, and quarantine hotels secured. Any money already spent on promotion is likely non-refundable. Additionally, if a show doesn’t happen, a booking agent like Cable doesn’t collect her commission after putting in as much as three years of work to make a concert happen. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If only to avoid these headaches, many artists take extra pains to keep themselves safe from COVID on the road as much as possible—although Cable says that even among musicians, that vigilance has waned. When we spoke in June, she shared that it was common for artists to request that venues require proof of vaccination or a negative PCR test at the door, whether or not the local government had a mandate in place. As the summer progressed, she says, fewer clubs made this a regular practice, and performers began to follow suit. Some of her artists still ask for signage requesting that showgoers wear masks, and may even provide face coverings for audiences—but she says few patrons actually wear them, and those who do often shed them while eating, drinking, dancing or moshing.\u003c/p>\n\u003cp>Artists with bigger budgets may hire COVID compliance officers to ensure that health measures are observed, or travel separately from the rest of the touring party to further minimize exposure. These added precautions, of course, all come at a price.\u003c/p>\n\u003cp>“COVID tests are expensive, masks are expensive, extra hotel rooms are expensive,” Cable says. “When you’re checking at the door, it’s an extra expense of having extra people hired. … That comes out of the show settlement, meaning it ultimately comes out of the band’s payments.”\u003c/p>\n\u003cp>And there’s another, less obvious cost to these arrangements: Musicians who close off backstage areas and stay away from the merch table miss out on potential networking and connections that could lead to future work. “A big part of being a freelancer and being in this field, like many fields probably, is that you can meet up with people, have social interactions, connect with people and then follow that connection,” Murphy says, “[whether] it’s working on an album together later or getting hired to go on their tour or collaborate on a different session.”\u003c/p>\n\u003cfigure id=\"attachment_13905554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Brijean-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean performs at Outside Lands in San Francisco’s Golden Gate Park on Saturday, Oct. 30, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Independent venues struggle, too\u003c/h3>\n\u003cp>Cultural attitudes toward the virus vary widely from place to place, and even in cases where the artist and venue are in total agreement on enforcing COVID safety, the social and political climate of the surrounding area can create its own hurdles.\u003c/p>\n\u003cp>In April 2021, Florida Governor Ron DeSantis issued an \u003ca href=\"https://www.flgov.com/wp-content/uploads/2021/04/EO-21-81.pdf\">executive order\u003c/a> making it illegal for businesses in his state to ask for proof of vaccination. In response, Tom DeGeorge, owner of the 300-capacity Tampa club Crowbar, got together with venue owners from his state and Texas—where there are similar restrictions—and discovered a legal loophole that enables them to request negative PCR tests from customers. “We had to be very careful with the wording because if we screwed up, it was a $5,000 fine per infraction. So it was a risk in and of itself,” DeGeorge says. “But it did definitely help me get certain artists for shows that wanted a special requirement.” (Still, as cultural tides have turned, DeGeorge says he hasn’t had any artist ask him to check COVID tests since spring.)\u003c/p>\n\u003cp>In 2020, DeGeorge led a coalition called \u003ca href=\"https://www.cltampa.com/music/here-are-the-tampa-bay-music-venues-whove-joined-the-safe-sound-responsible-concert-coalition-12213333\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound\u003c/a>, where Tampa music venues banded together to enforce masking and social distancing at their businesses. From about October 2020 to February 2022, DeGeorge says, he and his staff dealt with extensive backlash. “My place was tagged up. I had my beer garden destroyed. One day I had a woman spit in my face at a concert,” DeGeorge says. “I would regularly come in to work and have voicemails on the phone telling me I was a Nazi and they were going to burn my club down. I mean, it was relentless.”\u003c/p>\n\u003cp>Steven Severin says he’s found the prevailing attitude to be more cautious in Seattle, where he owns the 650-capacity concert hall \u003ca href=\"https://www.neumos.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Neumos\u003c/a>. Still, like the musicians they host, venues like his have to prepare for the unpredictable: “People keep pushing tours back or canceling them,” he says. “I can’t imagine being an artist and having to navigate this stuff.”\u003c/p>\n\u003cp>Although governments and private funders created some grants to help the live music industry at the beginning of the pandemic, most relief funding has dried up—even as professionals across the industry say it still needs institutional support.\u003c/p>\n\u003cp>DeGeorge and Severin are both members of the National Independent Venue Association, which lobbied for the Shuttered Venue Operators Grant (SVOG), through which eligible venues could apply for emergency assistance. Throughout 2021, the \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">SVOG rollout hit numerous delays\u003c/a>, and venue owners took on debt to keep their operations going or simply closed their doors. In June, a national coalition of mayors led by San Francisco’s London Breed and Chicago’s Lori Lightfoot \u003ca href=\"https://legacy.usmayors.org/resolutions/90th_Conference/proposed-review-list-full-print-committee-individual.asp?resid=a0F4N00000QhBotUAF\" target=\"_blank\" rel=\"noopener noreferrer\">called on Congress to support the arts and culture sector’s recovery\u003c/a>, recommending that the U.S. Small Business Administration expand the time allowed for venues to use SVOG funding to cover costs incurred through March 2023.\u003c/p>\n\u003cp>“It will be at least till the beginning of 2023 before we get back to some type of normal,” Severin says. “That’s what I was saying like three months ago. And now I’m starting to worry that that’s going to push out even further.”\u003c/p>\n\u003cfigure id=\"attachment_13919324\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13919324\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/SPELLLING-Razzmatazz-1-Sharon-Lopez11-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Primavera Sounds in Barcelona in June 2022. \u003ccite>(Sharon Lopez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Musicians fend for themselves\u003c/h3>\n\u003cp>As much as venues have struggled, there’s no comparable federal relief funding for individual artists, who are the engines driving the live music economy. Many grants from state and local governments and foundations are no longer taking applications. “I think there’s more of this attitude of like, ‘You have to deal with it. You took on this risk,’ ” Tia Cabral says. “That’s disappointing.”\u003c/p>\n\u003cp>For now, artists and their teams are left to figure things out on their own.\u003c/p>\n\u003cp>Brijean Murphy is still pursuing her musical aspirations while also leaning into her second, more pandemic-friendly career as an illustrator and visual artist, a job she can do without stepping foot into a crowd. “I feel like I’m still just watching [the situation] unfold and seeing how people, bands, companies, venues are reacting to this wave that we’re in, this phase of what it is to be in entertainment today,” she says.\u003c/p>\n\u003cp>Being a live musician in 2022 “can be challenging, can be a grind, can be soul-crushing at times,” Murphy adds. But there are also moments of transcendence. “We played in San Diego, and it was this outdoor venue on the beach. It was sunset and it was sold out, and everyone was having the best time. So I feel like there are a lot of highs and lows still.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the lows, musicians are finding ways to stay motivated and push forward. Spellling is embarking on a headlining U.S. tour in late September that will take Cabral and her band to 15 venues from North Carolina to Oregon. This time, she knows that the liberatory feeling of performing must be tempered with constant risk assessment and caution. But she plans to make the best of the situation by using what would have been social time for introspection and songwriting on the road.\u003c/p>\n\u003cp>“I just have to accept that there isn’t any cutting loose, and that’s OK,” she says. “And try to turn that into a creative meditation, instead of this other picture of tour that is about dancing with strangers, crashing in people’s houses and, you know, sharing drinks and making new friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "California Reopens in June. When Can We See Live Music Again?",
"headTitle": "California Reopens in June. When Can We See Live Music Again? | KQED",
"content": "\u003cp>Governor Gavin Newsom announced yesterday that California would fully open its economy on June 15, provided there’s enough vaccine supply and COVID-19 hospitalizations remain low. Counties will abandon the color-coded tier system that allows certain businesses to operate at limited capacity, and instead will adopt a \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/COVID-19/beyond_memo.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">statewide reopening model\u003c/a>.\u003c/p>\n\u003cp>Theoretically, that means clubs, concert halls and ballrooms can invite guests at full capacity in two months—and put musicians, stage crews and venue staff back to work. (The new state guidelines stipulate that masks will still be mandatory, and conventions with over 5,000 attendees will require proof of vaccination or a negative COVID test.) [aside postid='news_11867934']\u003c/p>\n\u003cp>If all goes according to plan, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, the free, outdoor live music series that takes place on weekends in San Francisco every summer, is planning to do just that. Executive director Bob Fiedler tells KQED he’s hopeful the festival can relaunch on June 20 with some COVID safety modifications.\u003c/p>\n\u003cp>Instead of allowing guests to come and go freely, there will be a fenced perimeter around the Stern Grove meadow and designated entry points. Reservations will be required, social distancing will be enforced and capacity will be down to about 3,000 from 10,000 in previous years. Pending approval from the San Francisco Department of Public Health, Stern Grove plans to announce its lineup and dates in about a month.\u003c/p>\n\u003cp>“As far as a bigger music festival, there’s a chance we’re going to be one of first ones back and we’re excited for that,” says Fiedler. “Music heals and it’s medicine, and the Bay Area and people in general can use that right now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfsymphony.org/About-SFS\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> may also see an earlier return to live performances than anticipated. CEO Mark Hanson tells KQED that the orchestra will likely give several outdoor concerts in June, July and August, and that program details will be released in the coming month or two. Indoor performances may resume in the fall. “O\u003cspan class=\"s1\">ur planning continues now with an increased sense of confidence and belief that this will actually happen,” he says, adding that digital programming will continue on the orchestra’s streaming service, \u003ca href=\"https://www.sfsymphonyplus.org/?npclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE&utm_source=google&utm_medium=cpc&utm_term=sf%20symphony%20plus&utm_campaign=Brand+-+SFS%2B&gclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>For many indoor music venue owners, getting back to business may be a slower process. “The idea of reopening that soon is as scary as closing was a year ago,” says Lynn Schwarz, co-owner and talent buyer at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>, an intimate, dive-y San Francisco rock club with a capacity of 250 people.\u003c/p>\n\u003cfigure id=\"attachment_13852010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0601-800x533.jpg\" alt=\"Super Unison's Meghan O'Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Super Unison’s Meghan O’Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwarz and her partners need capital to reopen. They’re applying to the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> from the federal government, which would help take care of some of the bills and debt. They also need another Payroll Protection Program loan to rehire their staff and give them enough hours. That’s in addition to a litany of logistical tasks, like making sure appliances and sound equipment still work after a year of disuse, installing plastic barriers and better ventilation and switching from a cash-only to a touchless payment system. [aside postid='arts_13894097']\u003c/p>\n\u003cp>“We will be [financially] vulnerable for the whole of next year,” says Schwarz, adding that many of her venue owner peers have expressed similar concerns.\u003c/p>\n\u003cp>Schwarz has booked a handful of concerts for August with bands like Surfer Blood and King Buffalo, and is in the process of finalizing a few other dates before announcing an official grand reopening. “It’s going to be a mad dash to get the best local bands on the bill,” she says, adding that out-of-town acts may be slow to organize national tours.\u003c/p>\n\u003cp>Venues that book primarily touring acts may take even longer to get off the ground. “When we—our community, meaning music venues, promoters, artists, agents and managers—all feel that it makes sense to start up the tours and to tour the country, then it starts to become real and viable,” says David Mayeri, CEO of \u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a>, adding that concerts will likely resume in his 1,400-capacity Berkeley ballroom in September, possibly August. “A lot can happen between now and June 15 that will be positive; some things can happen that will be setbacks. We don’t know what to predict.”\u003c/p>\n\u003cp>Mayeri is an organizer with \u003ca href=\"https://nivacalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA California\u003c/a>, the regional branch of the National Independent Venue Association that came together to advocate for the concert industry during the pandemic. NIVA California sees the governor’s announcement as a step in the right direction, and is also advocating for more financial support at the state level.\u003c/p>\n\u003cfigure id=\"attachment_13863765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7198-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big argument for state funding is that the arts are an economic engine; NIVA California estimates that independent venues generated $13 billion for the state economy in 2019. “We are still hoping for financial support from the state of California so venues can once again be economic drivers and contribute to the cultural fabric of our communities,” Sarah Fink Dempsey, spokesperson for \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, another NIVA member, tells KQED in an email.\u003c/p>\n\u003cp>Another Planet has already announced the return of its big festival, \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, in October. Fink Dempsey says that the company is hopeful that its venues—which include Oakland’s Fox Theater and San Francisco’s Bill Graham Civic Auditorium and The Independent—will be back in business in August. “Obviously this is all still unfolding and is a dynamic situation, and [we] will only do so when it is deemed safe,” she adds. [aside postid='arts_13894172']\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>, which is a nonprofit like The UC Theatre, may not host live shows until January 2022, says founder and executive artistic director Randall Kline. “It’s all fluid right now. If this were a linear, straight, directed path, it’d be easy to do,” he says. “But this virus in particular is unpredictable and we’re not sure where it’s all going to go. The variables are still huge in this—what is safe and how people are going to be able to gather.”\u003c/p>\n\u003cp>SFJAZZ books its programming a year out, and Kline predicts a challenge may be securing the big-name, touring artists who are already reeling from having numerous tours canceled over the last year. Those performers may wait until things stabilize. “We’re looking at artists in our backyard,“ says Kline, adding that numerous venues will be competing to book high-caliber Bay Area and California acts. “We’re going to be a little more regional for a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal Quartet performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Difficult as it may be to wrangle touring acts, Rob Ready of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> points out that many local artists may also need time to rehearse and perfect performances. “For most bands and most theater acts—or burlesque or drag performers or magicians—none of these folks have been able to be in same room as each other for over a year,” he says. While, before the pandemic, PianoFight typically hosted a wide variety of music and theater shows in its three rooms on a single night, it will likely scale down its offerings when it reopens in late summer or early fall because there may be fewer performers available.\u003c/p>\n\u003cp>So, when will fans be able to enjoy live music? And when will an industry that was the first to close and last to reopen be fully functional again? Each venue has a different answer, but it’s safe to expect that in a few months’ time—and with enough vaccines—we may be able to safely gather again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the San Francisco Symphony and a quote from Mark Hanson. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Some live music may return as early as June, but, for most venues, late summer is a more realistic expectation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Governor Gavin Newsom announced yesterday that California would fully open its economy on June 15, provided there’s enough vaccine supply and COVID-19 hospitalizations remain low. Counties will abandon the color-coded tier system that allows certain businesses to operate at limited capacity, and instead will adopt a \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/COVID-19/beyond_memo.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">statewide reopening model\u003c/a>.\u003c/p>\n\u003cp>Theoretically, that means clubs, concert halls and ballrooms can invite guests at full capacity in two months—and put musicians, stage crews and venue staff back to work. (The new state guidelines stipulate that masks will still be mandatory, and conventions with over 5,000 attendees will require proof of vaccination or a negative COVID test.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If all goes according to plan, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, the free, outdoor live music series that takes place on weekends in San Francisco every summer, is planning to do just that. Executive director Bob Fiedler tells KQED he’s hopeful the festival can relaunch on June 20 with some COVID safety modifications.\u003c/p>\n\u003cp>Instead of allowing guests to come and go freely, there will be a fenced perimeter around the Stern Grove meadow and designated entry points. Reservations will be required, social distancing will be enforced and capacity will be down to about 3,000 from 10,000 in previous years. Pending approval from the San Francisco Department of Public Health, Stern Grove plans to announce its lineup and dates in about a month.\u003c/p>\n\u003cp>“As far as a bigger music festival, there’s a chance we’re going to be one of first ones back and we’re excited for that,” says Fiedler. “Music heals and it’s medicine, and the Bay Area and people in general can use that right now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfsymphony.org/About-SFS\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> may also see an earlier return to live performances than anticipated. CEO Mark Hanson tells KQED that the orchestra will likely give several outdoor concerts in June, July and August, and that program details will be released in the coming month or two. Indoor performances may resume in the fall. “O\u003cspan class=\"s1\">ur planning continues now with an increased sense of confidence and belief that this will actually happen,” he says, adding that digital programming will continue on the orchestra’s streaming service, \u003ca href=\"https://www.sfsymphonyplus.org/?npclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE&utm_source=google&utm_medium=cpc&utm_term=sf%20symphony%20plus&utm_campaign=Brand+-+SFS%2B&gclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>For many indoor music venue owners, getting back to business may be a slower process. “The idea of reopening that soon is as scary as closing was a year ago,” says Lynn Schwarz, co-owner and talent buyer at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>, an intimate, dive-y San Francisco rock club with a capacity of 250 people.\u003c/p>\n\u003cfigure id=\"attachment_13852010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0601-800x533.jpg\" alt=\"Super Unison's Meghan O'Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Super Unison’s Meghan O’Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwarz and her partners need capital to reopen. They’re applying to the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> from the federal government, which would help take care of some of the bills and debt. They also need another Payroll Protection Program loan to rehire their staff and give them enough hours. That’s in addition to a litany of logistical tasks, like making sure appliances and sound equipment still work after a year of disuse, installing plastic barriers and better ventilation and switching from a cash-only to a touchless payment system. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We will be [financially] vulnerable for the whole of next year,” says Schwarz, adding that many of her venue owner peers have expressed similar concerns.\u003c/p>\n\u003cp>Schwarz has booked a handful of concerts for August with bands like Surfer Blood and King Buffalo, and is in the process of finalizing a few other dates before announcing an official grand reopening. “It’s going to be a mad dash to get the best local bands on the bill,” she says, adding that out-of-town acts may be slow to organize national tours.\u003c/p>\n\u003cp>Venues that book primarily touring acts may take even longer to get off the ground. “When we—our community, meaning music venues, promoters, artists, agents and managers—all feel that it makes sense to start up the tours and to tour the country, then it starts to become real and viable,” says David Mayeri, CEO of \u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a>, adding that concerts will likely resume in his 1,400-capacity Berkeley ballroom in September, possibly August. “A lot can happen between now and June 15 that will be positive; some things can happen that will be setbacks. We don’t know what to predict.”\u003c/p>\n\u003cp>Mayeri is an organizer with \u003ca href=\"https://nivacalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA California\u003c/a>, the regional branch of the National Independent Venue Association that came together to advocate for the concert industry during the pandemic. NIVA California sees the governor’s announcement as a step in the right direction, and is also advocating for more financial support at the state level.\u003c/p>\n\u003cfigure id=\"attachment_13863765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7198-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big argument for state funding is that the arts are an economic engine; NIVA California estimates that independent venues generated $13 billion for the state economy in 2019. “We are still hoping for financial support from the state of California so venues can once again be economic drivers and contribute to the cultural fabric of our communities,” Sarah Fink Dempsey, spokesperson for \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, another NIVA member, tells KQED in an email.\u003c/p>\n\u003cp>Another Planet has already announced the return of its big festival, \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, in October. Fink Dempsey says that the company is hopeful that its venues—which include Oakland’s Fox Theater and San Francisco’s Bill Graham Civic Auditorium and The Independent—will be back in business in August. “Obviously this is all still unfolding and is a dynamic situation, and [we] will only do so when it is deemed safe,” she adds. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>, which is a nonprofit like The UC Theatre, may not host live shows until January 2022, says founder and executive artistic director Randall Kline. “It’s all fluid right now. If this were a linear, straight, directed path, it’d be easy to do,” he says. “But this virus in particular is unpredictable and we’re not sure where it’s all going to go. The variables are still huge in this—what is safe and how people are going to be able to gather.”\u003c/p>\n\u003cp>SFJAZZ books its programming a year out, and Kline predicts a challenge may be securing the big-name, touring artists who are already reeling from having numerous tours canceled over the last year. Those performers may wait until things stabilize. “We’re looking at artists in our backyard,“ says Kline, adding that numerous venues will be competing to book high-caliber Bay Area and California acts. “We’re going to be a little more regional for a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal Quartet performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Difficult as it may be to wrangle touring acts, Rob Ready of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> points out that many local artists may also need time to rehearse and perfect performances. “For most bands and most theater acts—or burlesque or drag performers or magicians—none of these folks have been able to be in same room as each other for over a year,” he says. While, before the pandemic, PianoFight typically hosted a wide variety of music and theater shows in its three rooms on a single night, it will likely scale down its offerings when it reopens in late summer or early fall because there may be fewer performers available.\u003c/p>\n\u003cp>So, when will fans be able to enjoy live music? And when will an industry that was the first to close and last to reopen be fully functional again? Each venue has a different answer, but it’s safe to expect that in a few months’ time—and with enough vaccines—we may be able to safely gather again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the San Francisco Symphony and a quote from Mark Hanson. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Music Venues Still Waiting for Funding Three Months After Save Our Stages Act",
"headTitle": "Music Venues Still Waiting for Funding Three Months After Save Our Stages Act | KQED",
"content": "\u003cp>\u003cstrong>Update, April 19:\u003c/strong> The Shuttered Venue Operators Grant hit another delay after the Small Business Administration’s application portal crashed. \u003ca href=\"https://www.kqed.org/arts/13895993/save-our-stages-svog-delayed-music-venues-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Mar. 19: \u003c/strong>The Small Business Administration announced that applications for the Shuttered Venue Operators Grant will open on April 8. The agency is also hosting an informational webinar for applicants on March 30. Details \u003ca href=\"https://www.sba.gov/article/2021/mar/19/sba-launches-portal-begin-accepting-shuttered-venue-operators-grant-applications-april-8\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>A year into the pandemic, the independent music venues that haven’t gone out of business are hanging on by a thread. Or more accurately, they’re taking on hundreds of thousands of dollars in debt to pay for empty buildings, holding on until enough people are vaccinated to resume concerts.\u003c/p>\n\u003cp>The Save Our Stages Act promised much-needed relief when Congress passed it in December. Its resulting \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> (SVOG) would give music venues funding in the form of grants equal to 45% of their 2019 revenue. But three months later, the Small Business Administration still hasn’t opened applications for the money, and venue owners find themselves in increasingly dire financial straits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve had to find a bunch of money that we’ll have to pay [off] probably for the rest of our lives,” says Rob Ready, co-owner of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> and an organizer with the San Francisco Venue Coalition. “We’re racking up a mountain of debt. … I’m 36 now and I’m hoping to retire sometime when I’m 90.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfvenuecoalition.com/members/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a>, whose members include major players like Outside Lands producer Another Planet Entertainment and small, scrappy clubs like Bottom of the Hill, estimates that the average local venue’s monthly expenses can be anywhere between $18,000–$35,000. [aside postid='arts_13894172']\u003c/p>\n\u003cp>“The reason you haven’t seen a raft of venues shutter is because we’ve all taken on debt and continue to do so,” Ready adds.\u003c/p>\n\u003cp>The Small Business Administration told KQED in an email that \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">applications\u003c/a> for SVOG will likely open in early April. During the first two weeks, it will prioritize venues that have lost 90% of their revenue since the start of the pandemic. But it’s unclear how long after that the funding will actually arrive.\u003c/p>\n\u003cp>“I’m not holding my breath. … By the time we might get some money, we might be open,” says Oscar Edwards, owner of \u003ca href=\"https://complexoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Complex\u003c/a>, who has been able to keep his downtown Oakland nightclub thanks to his Trap Kitchen restaurant and a modified rent agreement with his landlord. Many of his peers in Oakland nightlife, including Starline Social Club, Stork Club, the Uptown and Spirithaus, have permanently closed.\u003c/p>\n\u003cp>Casey Lowdermilk, another San Francisco Venue Coalition organizer and the assistant general manager of Bill Graham Civic Auditorium, explains that there are several reasons for the SBA’s delay. “They’re in the middle of a transition with administrations, so that’s some hangup. They’re also traditionally a lending program and this is a grant program,” he says. “And our industry has never gone to the table before, so they don’t generally understand our industry. We’re educating them.” [aside postid='arts_13893952']\u003c/p>\n\u003cp>In the meantime, venue owners are now eligible for the second round of \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program/second-draw-ppp-loans\" target=\"_blank\" rel=\"noopener noreferrer\">Paycheck Protection Program loans\u003c/a> to help keep their staff. But to cover general operating costs, they’ve had to seek other means of support. Oasis, a destination for concerts, LGBTQ+ parties and drag nights in San Francisco, recently \u003ca href=\"https://givebutter.com/saveoasis\" target=\"_blank\" rel=\"noopener noreferrer\">raised over $270,000\u003c/a> to keep its doors open. “It goes to show you how much these venues are hurting, and how important they are to the community,” Ready says.\u003c/p>\n\u003ch2>City Programs Offer Some Relief, But More Help Needed at State Level\u003c/h2>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported\u003c/a> about the state of emergency for music venues in December, San Francisco Supervisor Matt Haney created the \u003ca href=\"https://www.kqed.org/arts/13892620/san-franciscos-music-and-entertainment-venue-recovery-fund-is-now-official\" target=\"_blank\" rel=\"noopener noreferrer\">Music and Entertainment Venue Recovery Fund\u003c/a>, which the Board of Supervisors formalized in February. But the $3 million fund also hasn’t yet been distributed. And the San Francisco Venue Coalition estimates that at least $48 million is needed to meet the nightlife industry’s actual needs.\u003c/p>\n\u003cp>Along with sister organization \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, the organizers have been in talks with major corporate and individual donors to bolster the fund, which is now accepting \u003ca href=\"https://sfosb.org/venuefund\" target=\"_blank\" rel=\"noopener noreferrer\">donations from the public\u003c/a>. Organizers are working closely with the city, and hope the funds will become available in April.\u003c/p>\n\u003cp>Mayor London Breed’s office offered some support with the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which allows for live music and performances in outdoor dining areas and other Shared Spaces. But few music venues have used it because it requires them to serve food and to have space for outdoor seating.\u003c/p>\n\u003cp>The Chapel, which has a parking lot and a kitchen, is one of the only venues that has been able to set up ticketed, outdoor shows with dinner service. And even then, “those shows essentially just lose money because the attendance is too small due to the social distancing,” says Fred Barnes, the club’s general manager and co-founder of the Independent Venue Alliance. “But we’re sort of doing it to keep the flame going. It means a lot for people, musicians and the whole community.”\u003c/p>\n\u003cfigure id=\"attachment_13894208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/20210225_213244-800x450.jpg\" alt=\"Colorful projects cover a wall while a band plays on an outdoor stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz performs an outdoor show outside of The Chapel, one of the few venues that has been able to use San Francisco’s JAM Permit. \u003ccite>(Dave Pehling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://covid19.ca.gov/industry-guidance/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s reopening guidelines\u003c/a> will allow for seated, outdoor performances at 20% capacity when the state reaches the orange tier, signifying moderate COVID-19 risk. (Currently, most counties are in red or purple, signifying substantial or widespread risk.) But some events presenters don’t believe that’s sufficient: the \u003ca href=\"https://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a> is currently in a court battle with the state and city, arguing that performing arts events should be treated the same way as religious services and other First Amendment-protected activities. Worship services are allowed with limited capacity even in the purple tier. [aside postid='arts_13893812']\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association (NIVA)\u003c/a>, which led the Save Our Stages campaign in Congress, is now focused on working with the state of California as well. About 10% of NIVA members are from the Golden State, says The UC Theatre CEO and NIVA organizer David Mayeri, and they’ll need significant support to start operations back up, even after federal funding comes in from the Save Our Stages Act. “SVOG is helping us pay our bills retroactively. But it’s not getting us reopened,” Mayeri says. “The operating cost to reopen the venues is very expensive. To make it COVID-safe is expensive. To start marketing to build consumer confidence to come back and buy tickets—we need additional help for that. We need subsidies.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.theuctheatre.org/outfront/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a> has been serving food outside of its downtown Berkeley concert hall, with live jazz and funk on Fridays and Saturdays. And Mayeri and many of his venue owner peers believe that once the vaccine becomes available to all adults on May 1, as the Biden administration has pledged, venues should be able to begin selling tickets 30 days after that. Live music is a major economic driver, industry leaders have repeatedly argued, and concerts reopening will be a boon to the entire state.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what we need to get the governor to understand,” Mayeri says. “Funding music venues in California and helping subsidize their operating costs so we can reopen is important to the economy—not just the music venues alone.”\u003c/p>\n\n",
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"excerpt": "Congress passed the act in December, but with relief delayed, many music venue owners are taking on huge amounts of debt. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, April 19:\u003c/strong> The Shuttered Venue Operators Grant hit another delay after the Small Business Administration’s application portal crashed. \u003ca href=\"https://www.kqed.org/arts/13895993/save-our-stages-svog-delayed-music-venues-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Update, Mar. 19: \u003c/strong>The Small Business Administration announced that applications for the Shuttered Venue Operators Grant will open on April 8. The agency is also hosting an informational webinar for applicants on March 30. Details \u003ca href=\"https://www.sba.gov/article/2021/mar/19/sba-launches-portal-begin-accepting-shuttered-venue-operators-grant-applications-april-8\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>A year into the pandemic, the independent music venues that haven’t gone out of business are hanging on by a thread. Or more accurately, they’re taking on hundreds of thousands of dollars in debt to pay for empty buildings, holding on until enough people are vaccinated to resume concerts.\u003c/p>\n\u003cp>The Save Our Stages Act promised much-needed relief when Congress passed it in December. Its resulting \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> (SVOG) would give music venues funding in the form of grants equal to 45% of their 2019 revenue. But three months later, the Small Business Administration still hasn’t opened applications for the money, and venue owners find themselves in increasingly dire financial straits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve had to find a bunch of money that we’ll have to pay [off] probably for the rest of our lives,” says Rob Ready, co-owner of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> and an organizer with the San Francisco Venue Coalition. “We’re racking up a mountain of debt. … I’m 36 now and I’m hoping to retire sometime when I’m 90.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfvenuecoalition.com/members/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a>, whose members include major players like Outside Lands producer Another Planet Entertainment and small, scrappy clubs like Bottom of the Hill, estimates that the average local venue’s monthly expenses can be anywhere between $18,000–$35,000. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The reason you haven’t seen a raft of venues shutter is because we’ve all taken on debt and continue to do so,” Ready adds.\u003c/p>\n\u003cp>The Small Business Administration told KQED in an email that \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">applications\u003c/a> for SVOG will likely open in early April. During the first two weeks, it will prioritize venues that have lost 90% of their revenue since the start of the pandemic. But it’s unclear how long after that the funding will actually arrive.\u003c/p>\n\u003cp>“I’m not holding my breath. … By the time we might get some money, we might be open,” says Oscar Edwards, owner of \u003ca href=\"https://complexoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Complex\u003c/a>, who has been able to keep his downtown Oakland nightclub thanks to his Trap Kitchen restaurant and a modified rent agreement with his landlord. Many of his peers in Oakland nightlife, including Starline Social Club, Stork Club, the Uptown and Spirithaus, have permanently closed.\u003c/p>\n\u003cp>Casey Lowdermilk, another San Francisco Venue Coalition organizer and the assistant general manager of Bill Graham Civic Auditorium, explains that there are several reasons for the SBA’s delay. “They’re in the middle of a transition with administrations, so that’s some hangup. They’re also traditionally a lending program and this is a grant program,” he says. “And our industry has never gone to the table before, so they don’t generally understand our industry. We’re educating them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, venue owners are now eligible for the second round of \u003ca href=\"https://www.sba.gov/funding-programs/loans/coronavirus-relief-options/paycheck-protection-program/second-draw-ppp-loans\" target=\"_blank\" rel=\"noopener noreferrer\">Paycheck Protection Program loans\u003c/a> to help keep their staff. But to cover general operating costs, they’ve had to seek other means of support. Oasis, a destination for concerts, LGBTQ+ parties and drag nights in San Francisco, recently \u003ca href=\"https://givebutter.com/saveoasis\" target=\"_blank\" rel=\"noopener noreferrer\">raised over $270,000\u003c/a> to keep its doors open. “It goes to show you how much these venues are hurting, and how important they are to the community,” Ready says.\u003c/p>\n\u003ch2>City Programs Offer Some Relief, But More Help Needed at State Level\u003c/h2>\n\u003cp>After \u003ca href=\"https://www.kqed.org/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported\u003c/a> about the state of emergency for music venues in December, San Francisco Supervisor Matt Haney created the \u003ca href=\"https://www.kqed.org/arts/13892620/san-franciscos-music-and-entertainment-venue-recovery-fund-is-now-official\" target=\"_blank\" rel=\"noopener noreferrer\">Music and Entertainment Venue Recovery Fund\u003c/a>, which the Board of Supervisors formalized in February. But the $3 million fund also hasn’t yet been distributed. And the San Francisco Venue Coalition estimates that at least $48 million is needed to meet the nightlife industry’s actual needs.\u003c/p>\n\u003cp>Along with sister organization \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, the organizers have been in talks with major corporate and individual donors to bolster the fund, which is now accepting \u003ca href=\"https://sfosb.org/venuefund\" target=\"_blank\" rel=\"noopener noreferrer\">donations from the public\u003c/a>. Organizers are working closely with the city, and hope the funds will become available in April.\u003c/p>\n\u003cp>Mayor London Breed’s office offered some support with the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which allows for live music and performances in outdoor dining areas and other Shared Spaces. But few music venues have used it because it requires them to serve food and to have space for outdoor seating.\u003c/p>\n\u003cp>The Chapel, which has a parking lot and a kitchen, is one of the only venues that has been able to set up ticketed, outdoor shows with dinner service. And even then, “those shows essentially just lose money because the attendance is too small due to the social distancing,” says Fred Barnes, the club’s general manager and co-founder of the Independent Venue Alliance. “But we’re sort of doing it to keep the flame going. It means a lot for people, musicians and the whole community.”\u003c/p>\n\u003cfigure id=\"attachment_13894208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/20210225_213244-800x450.jpg\" alt=\"Colorful projects cover a wall while a band plays on an outdoor stage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/20210225_213244-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kelley Stoltz performs an outdoor show outside of The Chapel, one of the few venues that has been able to use San Francisco’s JAM Permit. \u003ccite>(Dave Pehling)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://covid19.ca.gov/industry-guidance/\" target=\"_blank\" rel=\"noopener noreferrer\">California’s reopening guidelines\u003c/a> will allow for seated, outdoor performances at 20% capacity when the state reaches the orange tier, signifying moderate COVID-19 risk. (Currently, most counties are in red or purple, signifying substantial or widespread risk.) But some events presenters don’t believe that’s sufficient: the \u003ca href=\"https://www.sfiaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International Arts Festival\u003c/a> is currently in a court battle with the state and city, arguing that performing arts events should be treated the same way as religious services and other First Amendment-protected activities. Worship services are allowed with limited capacity even in the purple tier. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association (NIVA)\u003c/a>, which led the Save Our Stages campaign in Congress, is now focused on working with the state of California as well. About 10% of NIVA members are from the Golden State, says The UC Theatre CEO and NIVA organizer David Mayeri, and they’ll need significant support to start operations back up, even after federal funding comes in from the Save Our Stages Act. “SVOG is helping us pay our bills retroactively. But it’s not getting us reopened,” Mayeri says. “The operating cost to reopen the venues is very expensive. To make it COVID-safe is expensive. To start marketing to build consumer confidence to come back and buy tickets—we need additional help for that. We need subsidies.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.theuctheatre.org/outfront/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a> has been serving food outside of its downtown Berkeley concert hall, with live jazz and funk on Fridays and Saturdays. And Mayeri and many of his venue owner peers believe that once the vaccine becomes available to all adults on May 1, as the Biden administration has pledged, venues should be able to begin selling tickets 30 days after that. Live music is a major economic driver, industry leaders have repeatedly argued, and concerts reopening will be a boon to the entire state.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what we need to get the governor to understand,” Mayeri says. “Funding music venues in California and helping subsidize their operating costs so we can reopen is important to the economy—not just the music venues alone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help",
"headTitle": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
"content": "\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>[pullquote size='large']Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.[/pullquote]\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. [aside postid='arts_13890048']\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n",
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"excerpt": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
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"description": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
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"headline": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With no reopening date in sight and mounting overhead costs from rents, mortgages, electricity, insurance and other operating expenses, California music venues have found themselves in dire straits. If passed, three new pieces of Congressional legislation would offer financial relief during the pandemic.\u003c/p>\n\u003cp>The Save Our Stages Act (S. 4258) aims to provide six months of financial support to music venues shuttered due to COVID-19. The bipartisan bill, introduced by Senators Amy Klobuchar of Minnesota and John Cornyn of Texas, has support from the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), an alliance with 2,000 members that includes over 100 Northern California concert halls, production companies and promoters.\u003c/p>\n\u003cp>The Save Our Stages Act is intended to support small businesses, and offers a grant equal to 45% of a venue’s 2019 operating expenses or $12 million, whichever is the lesser amount. NIVA is currently running a \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#SaveOurStages campaign\u003c/a> that implores music fans to write their representatives in support of the bill.\u003c/p>\n\u003cp>The act could provide relief for venues that were struggling to stay in the black even before the pandemic in expensive regions like the Bay Area. “All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” Lynn Schwarz of Bottom of the Hill \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in April.\u003c/p>\n\u003cp>Some venues, like Bottom of the Hill, have launched crowdfunding campaigns to support their former employees. Others, such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> and Oakland’s \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spirithaus and Stork Club\u003c/a>, decided to cut their losses and move out of their locations with the hope of reopening after California ends its shelter-in-place orders. That would be after the arrival of a COVID-19 vaccine or therapeutics, which could be months or years away. [aside postid='arts_13880524']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another piece of federal legislation, the RESTART Act (S. 3814), could also be a boon for venues. While not specifically geared towards the music industry, it’s a loan program for small businesses that have suffered at least a 25% decline in business since the start of the pandemic. Music industry giants such as Spotify, Sirius XM Pandora, the Recording Industry Association of America, Sony, Universal and others signed a letter to Congress supporting the bill.\u003c/p>\n\u003cp>And finally, the ENCORES Act (H.R. 7735) offers venues a tax credit for 50% of the value of tickets refunded during the pandemic. Eligible businesses include those that promote, produce, or manage live concerts, comedy shows, sporting events and live theatrical productions, and have fewer than 500 full time-equivalent employees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re in the final stretch in our battle for survival,” Dayna Frank, president of NIVA and CEO First Avenue Productions, said in a statement. “Without federal assistance like ENCORES Act, Save Our Stages Act and RESTART Act, 90% of our members say they will be forced to close forever by the fall. It would not only be the collapse of our industry, it would be devastating to our communities that rely on us as a magnet for commerce.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With no reopening date in sight and mounting overhead costs from rents, mortgages, electricity, insurance and other operating expenses, California music venues have found themselves in dire straits. If passed, three new pieces of Congressional legislation would offer financial relief during the pandemic.\u003c/p>\n\u003cp>The Save Our Stages Act (S. 4258) aims to provide six months of financial support to music venues shuttered due to COVID-19. The bipartisan bill, introduced by Senators Amy Klobuchar of Minnesota and John Cornyn of Texas, has support from the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), an alliance with 2,000 members that includes over 100 Northern California concert halls, production companies and promoters.\u003c/p>\n\u003cp>The Save Our Stages Act is intended to support small businesses, and offers a grant equal to 45% of a venue’s 2019 operating expenses or $12 million, whichever is the lesser amount. NIVA is currently running a \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">#SaveOurStages campaign\u003c/a> that implores music fans to write their representatives in support of the bill.\u003c/p>\n\u003cp>The act could provide relief for venues that were struggling to stay in the black even before the pandemic in expensive regions like the Bay Area. “All of us independent venues—we’re all hovering around breaking even, if not running at a loss or barely profiting,” Lynn Schwarz of Bottom of the Hill \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in April.\u003c/p>\n\u003cp>Some venues, like Bottom of the Hill, have launched crowdfunding campaigns to support their former employees. Others, such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a> and Oakland’s \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">Spirithaus and Stork Club\u003c/a>, decided to cut their losses and move out of their locations with the hope of reopening after California ends its shelter-in-place orders. That would be after the arrival of a COVID-19 vaccine or therapeutics, which could be months or years away. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another piece of federal legislation, the RESTART Act (S. 3814), could also be a boon for venues. While not specifically geared towards the music industry, it’s a loan program for small businesses that have suffered at least a 25% decline in business since the start of the pandemic. Music industry giants such as Spotify, Sirius XM Pandora, the Recording Industry Association of America, Sony, Universal and others signed a letter to Congress supporting the bill.\u003c/p>\n\u003cp>And finally, the ENCORES Act (H.R. 7735) offers venues a tax credit for 50% of the value of tickets refunded during the pandemic. Eligible businesses include those that promote, produce, or manage live concerts, comedy shows, sporting events and live theatrical productions, and have fewer than 500 full time-equivalent employees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re in the final stretch in our battle for survival,” Dayna Frank, president of NIVA and CEO First Avenue Productions, said in a statement. “Without federal assistance like ENCORES Act, Save Our Stages Act and RESTART Act, 90% of our members say they will be forced to close forever by the fall. It would not only be the collapse of our industry, it would be devastating to our communities that rely on us as a magnet for commerce.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With No Timeline for Reopening, SF’s Independent Venues Seek Lifeline",
"headTitle": "With No Timeline for Reopening, SF’s Independent Venues Seek Lifeline | KQED",
"content": "\u003cp>When shelter-in-place orders went into effect eight weeks ago in California and the Bay Area, the booking agents, talent buyers, tour managers and promoters who comprise the live music industry scrambled to reschedule spring and summer concerts for as soon as this September. [aside postID=arts_13878116,arts_13850185,arts_13876535]\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everyone went, ‘Okay, seven or eight months will be enough time,’” Tony Bedard, the independent rock and comedy promoter, said in an interview. Then came Governor Gavin Newsom’s statement that the resumption of large gatherings is dependent on the development of vaccines, which likely will not be complete until 2021. “Now with the four-phase plan,” Bedard said, “we know concerts are going to be last to restart, and I’m less confident about October every week.” \u003c/p>\n\u003cp>With local music venues’ economic hardship and uncertainty only growing more pronounced, many operators have joined the newly-formed \u003ca href=\"https://www.nivassoc.org/\">National Independent Venue Association\u003c/a> (NIVA). \u003c/p>\n\u003cp>NIVA’s 1,500 members nationwide include historic venues such as First Avenue in Minneapolis, where Prince made a name for himself; the Troubadour, a home to the 1970s Los Angeles singer-songwriter scene; and D.C.’s storied 9:30 Club. In Northern California, its members number 70 venues and promoters, a mix of small- to mid-sized venues and promoters, as well as large outfits such as Another Planet Entertainment, the Oakland-based company behind the Outside Lands music festival.\u003c/p>\n\u003cp>Bay Area venues that have signed on to NIVA include Bimbo’s 365 Club, Bottom of the Hill, Cornerstone Berkeley, DNA Lounge, the Chapel, Great American Music Hall, the Ivy Room, the UC Theatre, and many others. Local promoters such as Noise Pop, Ineffable Entertainment and the Stern Grove Festival are on board as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bedard has already cancelled or postponed some 40 shows at independent venues, including Eli’s Mile High Club, Starline Social Club and the Ivy Room. He’s one of many local promoters and talent buyers in the difficult position of trying to financially endure an industry standstill and at the same time plan for its resumption—without knowing when that will occur or what it will look like. \u003c/p>\n\u003cp>Bedard worries that smaller venues without backing from Live Nation or Goldenvoice, diversified corporations with credit lines deep enough to weather the storm (though not without layoffs), will shutter before they’re able to adapt. It could be “financially less ruinous,” Bedard said, for venues to close than to continue operating at a loss whenever the concert restrictions lift. \u003c/p>\n\u003cp>NIVA, funded in part by ticketing companies See Tickets and Lyte, has retained the lobbyist firm Akin Gump Strauss Hauer & Feld to represent its interests in Washington. In a letter to congressional leaders, NIVA board president Dayna Frank proposed various relief measures centered on tax relief, small business loan and mortgage and rent forbearance. \u003c/p>\n\u003cp>Due to public health concerns, venues were some of the first businesses to close and will be among the last to reopen, Frank’s letter explains. Yet the initial federal economic relief programs “fail to sustain an industry like ours,” it continues. “Without your help, thousands of independent venues will not survive to see the day when our doors can open to the public again.”\u003c/p>\n\u003cp>Independent venues closing could also solidify the \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\">controversial expansion\u003c/a> of Live Nation and AEG, parent company of Coachella promoter Goldenvoice, into the local concert market. \u003c/p>\n\u003cp>Live Nation, which operates the Fillmore Auditorium and the Masonic, can burn $150 million a month for the rest of the year “without any concern,” company president Joe Berchtold told Billboard. And, separately from NIVA, the companies are lobbying for their own federal bailout. \u003c/p>\n\u003cp>Local promoters have concerns—not just about their unemployed workers, but also the risks of rescheduling concerts too soon and forcing repeat cancellations, not to mention overpromising fees for touring artists. If venues are only allowed to reopen with half or 25 percent capacity, for example, everyone stands to earn significantly less than initially expected. On top of it all is a big audience question: will anyone come out to shows?\u003c/p>\n\u003cp>Dan Strachota, talent buyer at the Rickshaw Stop in San Francisco, said he’s increasingly postponing fall concerts to next year, even some originally slated for this past March or April. With potential capacity limitations, he says promoters booking touring acts are striking less-risky “door deals,” where artists receive a percentage of total ticket sales rather than their usual guaranteed fee. \u003c/p>\n\u003cp>The Rickshaw Stop has joined on with NIVA, and Strachota is hopeful for some sort of federal aid. The Hayes Valley venue is ineligible for a Payroll Protection Program loan, he said, and has been denied for five other regional grants and loans. \u003c/p>\n\u003cp>Another problem is its ticketing provider, San Francisco company Eventbrite, has laid off 45 percent of its staff. “We’re doing a lot of the work they were doing now,” Strachota said, referring to customer service and refunds processing. The company, he continued, recently changed its policy nationwide to keep 100% of the money for tickets sold until five days after the shows occur. Naturally, no shows have occurred since the shelter-in-place order. \u003c/p>\n\u003cp>(KQED has contacted Eventbrite for comment.)\u003c/p>\n\u003cp>But along with federal aid, Strachota wants clarity from local and state officials around the resumption of live music, saying reopening guidelines should better distinguish between small clubs and stadiums. To that end, he’s also a member of the Independent Venue Alliance, a \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\">new group formed\u003c/a> separately from NIVA in part to represent local nightlife at San Francisco City Hall. \u003c/p>\n\u003cp>The Rickshaw Stop is raising a hardship fund for its workers, and recently sold alcohol to supporters at little more than cost, offering a free plus-one to a future gig with every curbside pickup. Strachota was happy to be reminded of the venue’s audience, and to offer some staff a day gig. “It was the first time in six weeks I woke up without a sense of dread,” Strachota said. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated to more accurately reflect payouts from Eventbrite to the Rickshaw Stop. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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