If there’s one perennial complaint about the BRIT Awards, it’s this: cynics argue that the ceremony is merely grand-standing from major label execs, a high-profile act of back-slapping. Except this year, the script was well and truly flipped – wins from breakout songwriter Myles Smith, jazz group Ezra Collective, and theatrical indie types The Last Dinner Party were followed by speeches that served both as a plea for assistance in music’s grassroots, and as a searing indictment of the way culture is treated in this country. It made for powerful, emotive watching.

It was a night that weaved many different narratives. Charli xcx secured the final act of her ‘BRAT’ ascendency with multiple wins, while Jade scooped the first BRIT trophy of her solo era. Sabrina Carpenter proved to be an immaculately filthy pop star, while the closing performance from Ezra Collective – with guest vocals from Jorja Smith – radiated joy. It was also the return of Jack Whitehall as host, and his near-the-knuckle roasting produced some epic quips – notably pinning Stormzy as “grime’s very own Ronald McDonald”.

One thing that emerged throughout was the serious threats facing the future of British music. An area of the red carpet was given over to ongoing protests against AI, urging the Labour government to protect the rights of creators. Music Declares Emergency was also evident, with numerous artists spotlighting their No Music On A Dead Planet message.

It was the role of grassroots organisations that would supply the BRITs with its over-arching theme. Myles Smith was the first to speak out, using his acceptance of the coveted Rising Star award to ask powerful questions of those in power – both within the music industry, and the country at large.

“Tonight, whilst I have the attention of the nation, and this award which gives me this really cool speaking power, I want to ask three questions.”

“My first is to the government – if British music is one of the most powerful cultural exports we have, why have we treated it like an afterthought for so many years? How many more venues need to close, how many music programs need to be cut before we realise that we can’t just celebrate success, we have to protect the foundations that make it.”

“My second is to the biggest venues and arenas around the world – if artists selling out your arenas and your stadiums started in grassroots venues, what are you doing to keep them alive?”

“And my third, to the industry, to the execs in the room and to the people behind the scenes – are we building careers or are we just chasing moments? Because moments fade and careers take time. So please stick with artists past their first viral hit, past their first tour, because it really matters to us. Moments, they fade, but careers last forever.”

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Myles had been handed by trophy by last year’s Rising Star victors, The Last Dinner Party. Returning to win Best New Artist, the band’s Georgia Davies highlighted the role small independent venues played in their rise – CLASH first saw them at the George Tavern, for example.

“We wouldn’t be a band, and a lot of the artists here would not be bands either, without the U.K.’s incredible independent venues, and they are the lifeblood of the music industry and they are dying. And if venues like this, like The O2, like arenas, stadiums across this country contributed even a tiny bit toward these independent venues, then we would not be losing them at this alarming rate. We wouldn’t be here without them. None of this would be happening without them. So, I want to say to those artists who are playing independent venues all over the country tonight — keep going because that’s the best kind of art there is. In a time when art is under threat, that is the most important thing to keep supporting.”

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Finally, Ezra Collective swept away the competition to win Group Of The Year, with ever-eloquent drummer Femi Koleoso using the moment to thank the organisations – such as Tomorrow’s Warriors – who do such vital work in introducing young people to musical instruments.

“I’ll bang this drum a bunch of times, and I’ll continue to do so until the entire country gets it. This moment right here is because of the great youth clubs, and the great teachers and the great schools that support young people playing music. The reason we continue to bang this drum is because so many of the problems that face greater society in the UK… we’re unsure of how to fix it, but the solution lies with giving a young person a trumpet, the solution lies in giving a young person a saxophone. Because when you do that, you give them a dream, an aspiration and a goal.”

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The message was loud and clear – we need urgent support for the foundations of British music. The latest invaluable report from Music Venue Trust states that 16% of grassroots music venues in the UK closed their doors in 2024, while around 40% are attempting to continue while making a loss. This is in stark contrast to the monies generated by Live Nation, who earned a staggering $23 billion in revenue last year.

The Nighttime Industries Association has revealed that 10 clubs closed in the UK each month during 2024, with club culture facing an extinction level event by 2029. Music education is being side-lined by cash-strapped schools, while youth clubs – often spaces where kids can be introduced to instruments – are closing at an alarming rate. In London alone, 30% of youth clubs shutdown during 2010 to 2019, annihilated by the Conservative party’s austerity agendas.

It doesn’t have to be like this. With even Danny Dyer pointedly calling him a “slag” on national television, Keir Starmer and his Labour cabinet must embrace music as a part of a revitalised culture plan – failure to act now could have devastating consequences for the future.

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Words: Robin Murray

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