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Abstract
In its broadest sense, the Toilet Circuit comprises smaller and independent music venues in the UK that launched many now famous artists and bands, alongside supporting many that are locally known, igniting or sustaining all-important local music scenes and their cultural production. Fueled by alcohol, drugs and adrenalin, the turbulent atmosphere of Toilet Circuit venues offer escapism for disaffected youth within the seedy aesthetic environment evocative of a recalcitrant culture. These raucous grime-pits play a vital role in the ecology of Britain's music scene and broader cultural sector. Against a backdrop of closures, this paper seeks to explore the significance of these venues and their future, using three iconic examples in London, Leeds and Kent.
Acknowledgements
We are grateful to the following for taking the time to participate in this project through interviews. From bands: Jeremy Pritchard (from Everything Everything), Little Comets, Steven Ansell (from Blood Red Shoes) and The Enemy. From organizations: James Ketchell (Director of Music Heritage, UK), Jonathan Todd (Head of Research at UK Music), Sybil Bell (Founder of Independent Music Week), Ellie Moore (Talent Programme Officer at Help Musicians UK G.5) and Beverley Whitrick (Music Venue Trust). At the Duchess of York: John Keenan (owner and promoter), Dave Simpson and Dan Ishikawa (regular gig-goers), Lis Coyle (audio engineer, 1992–98), Miranda McMullen (band manager) and Richard Makinson (musician/performer 1986–89). At the Bull & Gate: Phil Avey and Andy Clarke (promoters) and Mick Mercer (regular gig-goer and writer for Melody Maker and Zigzag). At The Forum: Jason Dorman (owner) and Matt Sharp (guitarist in a local band).