Fatboy Slim Champions Community Ownership of Iconic Brighton Venue

Zoe Martinez, Arts Correspondent
5 Min Read
⏱️ 4 min read

In a significant move aimed at preserving the essence of live music in the UK, renowned DJ Fatboy Slim, alongside Manchester Mayor Andy Burnham, has committed to a £7 million initiative that will see the beloved Pipeline venue in Brighton become community-owned. This venture, which is being likened to a “National Trust of music venues,” is part of a broader campaign by Music Venue Properties (MVP) to secure the futures of cherished grassroots venues across the nation.

A New Era for The Pipeline

Situated on Little East Street, The Pipeline will become the tenth venue under MVP’s ownership model, which seeks to acquire freeholds of music venues and provide them with a stable and supportive environment. Fatboy Slim, whose real name is Norman Cook, is joined in this initiative by notable figures including Squeeze’s Glenn Tilbrook. Cook expressed his deep connection to such venues, stating, “I love venues like this because they remind me of when I started out, that youthful excitement and feeling about having to perform.”

He further emphasised the importance of these spaces, declaring, “Rooms like this are where dreams come true or where memories are made, and enormous acts learn their craft.” In a time when many grassroots venues are struggling to survive economically, Cook believes that MVP’s approach can help ensure their longevity: “If MVP buys the venue, we can be the benevolent landlord that doesn’t raise the rent, listens to them, and gives them long-term security.”

A Lifeline for Musicians

The Pipeline has been a vital part of Brighton’s music scene, hosting a myriad of performances, including a sold-out show by Cook himself earlier this year as part of the Everywhere at Once festival. Thomas Evrenos, the venue’s operator since 2017, shared his relief at the new arrangement, stating, “Having landlords that understand what we are doing is super important. I’m super happy. If it didn’t turn out like this and someone had tried to increase the rent, then I would have probably given up.”

MVP has garnered a reputation as the “National Trust for music venues,” utilising community shares and investments to purchase venues and lease them back to operators. This model not only secures the venue’s future but also fosters a supportive environment for artists to flourish.

The Importance of Grassroots Venues

Peter Cornforth, a representative from MVP, highlighted Brighton’s vibrant cultural scene, noting, “You need live spaces for people to come and learn their craft.” He continued, “We are about the preservation of the key role that grassroots venues play, both for artists and in their communities.” This initiative is a concerted effort to ensure that the backbone of the music industry—those small, intimate venues—is not lost in the face of rising rents and economic challenges.

With ten venues now under its umbrella, MVP’s model demonstrates a successful blueprint for safeguarding the cultural heritage of live music across the UK. The implications of this movement extend beyond just Brighton, as it could inspire similar initiatives in other cities struggling to retain their music venues.

Why it Matters

The transformation of The Pipeline into a community-owned venue is emblematic of a larger movement to protect and nurture grassroots music spaces that are essential for emerging talent. In an era where corporate interests often overshadow local culture, this initiative represents a beacon of hope for musicians and music lovers alike. By investing in these venues, we are not merely preserving a physical space; we are safeguarding the very heartbeat of live music, ensuring that future generations have the opportunity to create, perform, and experience the magic of live performances.

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Zoe Martinez is an arts correspondent covering theatre, visual arts, literature, and cultural institutions. With a degree in Art History from the Courtauld Institute and previous experience as arts editor at Time Out London, she brings critical insight and cultural expertise to her reporting. She is particularly known for her coverage of museum politics and arts funding debates.
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