You can’t separate record culture from live music. The two feed each other constantly — a great show makes someone want to own the record, and owning the record makes someone want to see the band live. So the health of Australian music venues directly affects my world, and I pay close attention.

The picture in 2026 is mixed. Some things are genuinely encouraging. Others are deeply concerning.

The Good News

Live music attendance in Australia has recovered from the pandemic lows, and in many markets it’s actually exceeded pre-2020 levels. People want to go out. They want to see live music. The demand is strong.

New venues have opened in several cities, particularly in Melbourne’s west and Sydney’s inner west. These aren’t just replacements for what was lost — they’re venues with fresh ideas about how live music spaces should work, with better sound systems, more inclusive booking policies, and genuine community focus.

The festival circuit remains robust. Beyond the major festivals, smaller boutique events focused on specific genres and communities are thriving. These events, often organised by the same people who run independent labels and record shops, are vital for emerging artists.

Government support has improved. Various state grants, live music office initiatives, and cultural funding programs have provided meaningful support to venues and artists. It’s not enough, but it’s more than what existed a decade ago.

The Bad News

Venue closures continue, primarily driven by two forces: property development and noise complaints. Every year, Australia loses venues that have been operating for decades, replaced by apartments whose new residents immediately complain about the noise from the remaining venues next door.

The “agent of change” principle, which should protect established venues from noise complaints by new developments, exists in legislation in Victoria and some other states but is inconsistently enforced. Too often, the venue bears the cost of soundproofing or operational restrictions rather than the developer whose building created the conflict.

Rents continue to rise in the inner-city areas where most venues are located. A live music venue is typically not the highest-revenue use of a commercial space, which puts venue operators in a perpetually precarious position when leases come up for renewal.

Artist payments remain inadequate. Many small venues pay performers poorly or not at all, relying on door splits that often amount to less than minimum wage. This isn’t sustainable. If we want professional musicians to keep making music, we need to pay them properly to perform it.

Melbourne

Melbourne’s venue scene is still the strongest in the country, but it’s under constant pressure. The inner-north corridor (Fitzroy, Collingwood, Brunswick, Northcote) has lost venues to development over the past decade, though replacements have emerged.

The Tote’s survival remains a miracle. The Old Bar continues to book interesting underground acts. Bar Open’s back room is still a reliable spot for emerging bands. Newer venues in the western suburbs are adding capacity.

The biggest threat to Melbourne’s scene isn’t a single closure but the cumulative erosion of small rooms. Every 100-capacity venue that becomes an apartment building reduces the ecosystem for developing artists. These rooms are where bands learn to play, build audiences, and develop the skills that eventually take them to bigger stages.

Sydney

Sydney’s recovery from the lockout laws era continues to be slow but real. The inner west, particularly Marrickville and Newtown, has become the centre of gravity for live music. The east and the CBD have partially recovered but haven’t returned to their pre-lockout vibrancy.

New licensing arrangements and late-night trading permissions have helped, but the cultural damage of the lockout years went deeper than policy can easily fix. An entire generation of Sydney musicians developed their careers elsewhere, and not all of them came back.

Brisbane

Brisbane’s live music scene punches above its weight. The Fortitude Valley entertainment precinct provides a concentrated hub, and the city’s relatively affordable cost of living compared to Melbourne and Sydney means venue operators have slightly more breathing room.

That said, Brisbane isn’t immune to the development pressures affecting every Australian city. Staying vigilant about venue protection is important even in markets where things seem stable.

What Needs to Happen

Stronger agent of change enforcement. The legislation exists. It needs to be applied consistently and with real consequences for developers who ignore it.

Planning protections for cultural spaces. Live music venues should have planning protections similar to heritage listings, recognising their cultural value beyond their commercial function.

Fair pay for performers. Venues need to commit to fair minimum payments for artists. Industry bodies and government support can help bridge the gap between what venues can afford and what artists deserve.

Community investment. Support your local venues. Go to shows. Buy the merch. Tell your friends. The most effective protection for a live music venue is a full room.

The Connection to Vinyl

Every record in my shop represents an artist who probably got their start playing to a dozen people in a small venue. Protecting those venues is protecting the pipeline that creates the music we all love. It’s not separate from record culture — it’s the foundation of it.

Go see a band this week. Then come buy the record.