So if the industries' economic output is so substantial, as the above graph illustrates, why are so many venues closing?

Whilst this graph would seem to suggest a substantial increase in the Night Time Economies' economic output, when inflation is taken into account, a different reality emerges.

^{(Graph by Archie Rowlins)}

This graph shows that once inflation is factored in, the real consumer spend for the Night time cultural economy fell by 7.9% between 2019 and 2022 and whilst the broader Night Time Economy and Out of Home Leisure Economy both grew, it was by a mere 0.6% and 0.1% respectively.

Whilst these figures provide an inciteful glance at the state of affairs, they are for the period up until December 2022 and so do not account for the economic impact of the cost of living crisis which took real effect in 2023, and continues to affect the night life industry to this day.

The crisis becomes even clearer when we hone in on the state of Nightclubs and Electronic Music Spaces.

In 2005, the UK had over 3,000 clubs, but by June 2023, there were only 851 remaining.

The pandemic certainly played a big part in this, with nightclubs being the last venues to emerge from Covid restrictions, resulting in a 30% fall in the number of nightclubs between March 2020 and June 2023.

An important aspect of galleries involving themselves in nightlife programming, particularly that which features underground music, is a proper acknowledgement of the culture and areas from which these musical movements were created.

Kill added: "Ideally, yes, galleries can and should engage local communities, especially where traditional nightlife spaces have disappeared.

"Inclusive programming that reflects local culture, provides affordable access, and encourages community participation can help fill social and cultural gaps.

"But it requires intentionality—galleries need to avoid becoming exclusive or overly commercial spaces disconnected from the needs of their neighbourhoods."

Why is nightlife in decline?

Shadow Lord Chancellor, Robert Jenrick, recently made comments in a Times Radio interview regarding the causation of nightlife closure, and said: “If you talk to people, they are now worried about going out in London.

“People are not wearing watches, people are worried about their mobile phones being stolen, nightlife is massively down in London because young people don’t feel that it’s a safe city that they want to live in."

But whilst Jenrick is certainly right to point out the alarming rate of nightlife closures, his analysis of causation does not reflect all of the data.

A nationwide survey conducted by Obsurvant found that of the 2,000 18-30 year olds surveyed, 55% reported safety concerns, including drink spiking, as deterring them from going out, the same survey also found that 71% cite poor transport as a barrier to attending late-night events.

Further, according to the Office for National Statistics, “Crime against individuals and households has generally decreased over the last 10 years” and whilst in 2024 theft increased by 13%, compared to the year prior, shoplifting also rose by 20%, a key indicator of widespread financial hardship and likely the result of general governmental economic mismanagement.

So, perhaps a more accurate diagnosis would be to assess the rising price of alcohol, soaring commercial rent prices, rising price of public transport, strict licencing restrictions (which favour new residents over established venues), the ongoing cost of living crisis and of course, the aftereffects of the COVID-19 pandemic. 

Kill somewhat agreed that galleries have some advantage over nightclubs given the current economic climate.

He said: "Galleries often have access to public funding, grants, and partnerships that grassroots venues lack, offering financial resilience.

"They might also benefit from institutional support, established networks, and greater security in terms of leases and licensing.

"However, grassroots venues have authenticity and community trust that galleries sometimes struggle to replicate. Economic advantage doesn’t always translate to cultural influence or scene vitality."

Given the economic advantage galleries have, it's possible that there is the potential for them to inadvertently undermine the few remaining independent venues, and in doing so, cause even more damage to the underground music scene.

Kill added, "Actually, rather than overshadowing, galleries have the potential to enhance the night-time economy by creating additional performance spaces and opportunities.

"By opening their doors for diverse events—music, performance, multimedia art—they can complement existing venues and help develop a more varied and inclusive cultural market.

"This expansion can provide artists and audiences with more choices, supporting underground scenes by increasing visibility and cross-pollination. 

"The key is for galleries and grassroots venues to coexist and collaborate, maintaining the unique character of underground music while broadening the night-time cultural landscape."