Costly, draconian and destructive?

I promise I’m not obsessed. But…

Long time readers will know I covered this license a lot, because it was the UK’s harshest busking licence and was installed after just 9 people complained (in a borough of 220,000). Over the years, we:

A couple of weeks ago I found out that there’s been a 90% drop in the number of buskers applying for Camden’s busking licence, so now I’m investigating why.

One shocking detail is that the price shot up. When the licence was debated in council meetings they said it would cost just £19 a year. But when it launched it was £150 for 2 years, making it the most expensive busking licence in the UK.

Anyway, if you’ve busked in Camden, whether or not you got a licence, I’d like to hear what you believe could be the cause of the drop in the number of buskers applying for a licence today. If you haven’t busked in Camden, but you have knowledge of other permit systems, I’d like to know how they compare to this one. So please, click this link to let me know what you think:

A month ago I wrote a piece trying to quantify the value of buskers to a city, where I said that “It's vulgar to measure [busking] by its financial value to others”. One busker responded:

It’s a good point that I agree with. More research into into how much buskers improve the world would be beneficial.

So, I’m excited to let you know that the “3rd International Conference of the Urban Music Studies Scholars’ Network” (not the snappiest name) is hosting a conference titled “Groove the City–Move the Streets” (yes, that’s also not a great name).

They are inviting contributions—papers, panels, workshops, performances—from scholars, artists, practitioners, and activists working in humanities, social sciences, urban studies, planning, and music-related disciplines.

The aim is to examine how streets become stages, soundscapes, protest arenas, and spaces of hope, resistance, and solidarity, and to explore the vibrant interplay between music, urban life, and the dynamics of public space.

Date of the conference: September 17-19, 2026
Location of the conference: Vienna, Austria
Proposal Deadline: October 5, 2025
Submission platform: www.conftool.org/groovethecity2026
Full call: Conference Website
✉️ [email protected] | [email protected]

In response to my claim that street performance is a countercultural activity, one of you rightly pointed out that it’s one of the most popular expressions of the human spirit on the planet, beloved by all. So, not countercultural at all! I was wrong to say otherwise.

Onto some poll results:

I asked you to name what’s the worst thing about the “music extraction business” (a term that I seem to have coined). The most-voted-for items were the death of the live music scene and how much you hate social media:

I asked whether you thought it was okay if I charged a little for this newsletter. Thankfully, the majority of respondents said “yes”, but it was close (12:9).

Vote to see results!

News, stories and gig opportunities from around the world that I’m not writing about elsewhere.

Back to the Birmingham busking ban. Street performers called for a compromise, suggesting a total amp ban, a permit system and even auditions would be preferable to the council’s plans. One business called for better regulation, not a ban. The Musicians’ Union called for a “more nuanced approach”. And only 52% of the locals asked called the proposals “the right way forwards”. Note: the locals weren’t quizzed on other potential ways forward, so that number doesn’t mean much.

Birmingham businesses complained of migraines due to the volume buskers played at. That said, those same businesses also said their staff would get “incredibly hot” if they kept the doors closed—suggesting management don’t care enough about their employees to use air conditioning.

Newport in Wales installed seven “busk stops” where buskers are encouraged to perform. The man quoted in the council’s press release is their “cabinet member for regeneration and business growth”, showing that the city understands buskers are good for local businesses. That said, designated places where buskers can perform could mean they’ve removed the right to perform anywhere else. If you know Newport, tell me what you think about the busk stops. Is it encouraging or limiting?

The Musicians’ Union is calling on Westminster Council to create new busking pitches to replace the ones lost during the ban in Leicester Square. Please take a moment to sign the petition, which is backed by Equity and the Westminster Street Performers Association.

Limerick has installed new bylaws that came into effect on July 3rd. I’m not sure how they differ from the old ones, but there are a couple of problems. First, there has to be 100 metres (330ft) between performers. There’s a ban on “dangerous” juggling props, including relatively harmless “knives”. Musicians can’t use backing tracks, but circle shows can. Apparently someone called “The Director General” can grant the use of backing tracks. Contravening these terms would result in a €2,500 fine.

Remember the ban on Ondel Ondel costumes for street shows in Jakarta? I wrote about it here and a little more about it here. Someone has done a study asking five Betawi people—specifically selected for having never busked themselves—what they think about street performers using the costumes. Interviewees were split between for and against. It’s an interesting study, which I suggest you read (at least the conclusions towards the bottom).

Final thing before the paywall. Could someone please give Rick Hopkinson a couple of tips on how to busk better (by emailing him here)? He’s playing an absolutely magnificent-looking machine, but struggled to draw a crowd. I asked and he said he’d appreciate the advice! The video: