As everyone will be aware, the Coronavirus pandemic has been a disaster across the globe and represents the kind of seismic unexpected event that the world hasn’t experienced in modern times. Whilst the economic and practical impact, and human cost, of the virus is well documented, it is also worth taking some time to consider the impact upon live music in general and the goth scene in particular.
When the threat of the virus was still unfolding in March opinions on the response within the live music industry were sharply split, and live shows were still taking place right up until the start of lockdown – including several well-attended goth events. The attitude of several promoters (particularly in the metal and punk scenes) was to proceed with their events whilst decrying the ‘hype’ of the virus, whereas some promoters had begun cancelling their events voluntarily to facilitate social distancing; ironically, it was certainly as unpopular to cancel as it was to proceed in those strange days in early March.
Eventually, after lockdown was enforced events were slowly cancelled on a more or less rolling basis as people’s expectations were revised downwards. Spring, summer, and then autumn events were cancelled as both the longevity of the virus and the patchy nature of the government’s response became clear. Recent announcements of further measures that could last for up to six months have only furthered the gloom around the live music sector, with the resumption of regular gigs and shows as far away as ever.
So, what have been the repercussions for the scene? The overwhelming practical impact has been for events to be moved en masse into 2021, which even at this distance is looking heavily congested. As events have been rescheduled and re-rescheduled on the basis of the changing prognosis for live music, promoters have increasingly had no choice but to dig trenches in the diaries of their customers for the year ahead or risk losing their place in the goth calendar. As the situation remains precarious it is impossible to tell if these events will proceed as planned, but with the only other options being indefinite hiatus or permanent cancellation most promoters are having to take their chances.
Lockdown has also seen a boom in livestreamed clubs and shows, which although not an ideal replacement for the real thing have at least formed a focal point for maintaining social focus; and some online events, such as Stay-In-Fest, have been innovative examples of what can be possible in this format.
In terms of the present, some venues are managing to resume events on the basis of reduced capacity and social distancing, with gigs now taking place in beer gardens and outdoor spaces, or even rooftops. Some events linked to the scene – Slimelight, Reptile, Torture Garden – have managed to relaunch as seated events with appropriate measures in place. Although these events are likely to be operating under these restrictions for a while they are nonetheless encouraging, acting as bridgeheads with which the scene cam hang onto life over what promises to be a tough winter.
However, there are reasons to be fearful that goth is more vulnerable as a scene than other subcultures. The relatively small nature of the scene means that most bands and promoters are at best semi-pro in status, and the indefinite removal or revenue streams may have severe impact for their viability in the medium term. They also tend to be linked to underground venues and pubs that are themselves struggling financially or which are now on the brink. Goth’s profit margins are now thinner than ever, with the repercussions of further delays looking bleak.
Lockdown has also posed an almost existential problem for creatives across all genres and mediums, and goth is no exception. The impact of having your chosen skills and trade sidelined and even legislated against over a long period is corrosive, and comes as it does with the cumulative effects of recession and a mental health crisis; and the link between modern goth and the lifestyle musicians and artists of 30-40 years ago will grow ever-thinner as a result.
There is also the matter of the ageing demographic of the scene. Goth has increasingly struggled to bring through a younger audience, and the generational status of both the fans and the bands means that the longer the impasse the worse the effects will be for the scene. After all, there are only so many times that the Mission, the Damned or the Sisters will be able to arrange tours or events on the scale of their 2020 cancellations.
But most of all there is the fact that goth is based around the repetition of a small selection of events; major festivals like Whitby, Infest, Leipzig and others form the basis for the entire community, rather than a large network of localised small gigs. Goth meets regularly in bulk, with very specific social rituals, and if the scene ends up going two years without that fulcrum it may have a negative effect on the social glue that holds the scene together.
So the recent resurgence in the UK scene, with an almost-monthly procession of new or established festivals, is still relatively precarious, and the swift return of the basic building blocks for live music is imperative. It is clear that bands and promoters will need to be creative and positive in how they engage with the ever-changing rubric of Covid policy. Sweaty clubs and large shows may be off the table for now, but intimate and distanced shows or even DJ appearances are still a possibility. And with the first green shoots of survival appearing, we may yet have to resort to more unorthodox measures to restart the undead heart of UK goth.
Either way, the stakes are higher than ever – in more ways than one. So, stay safe out there.
Voodoo Diplomacy 