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“Financially fragile.” Those are the words used by the Music Venue Trust (MVT) last year to describe the state of the UK’s grassroots music sector in its annual report. The findings were damning (if, depressingly, not all that surprising), with more than half of the UK music scene’s grassroots music venues (GMVs) failing to turn a profit. 30 venues shut over the course of the year, with 6,000 jobs amounting to 19 per cent of the work force being lost.
While big-name supporters like Sam Fender, who donated his Mercury Prize winnings to the MVT, have highlighted the struggling state of independent music venues, not enough has been made of the scale of the problem and the threat this poses to the wider UK music scene. That’s why The Independent has teamed up with the Music Venue Trust and relaunched the Main Stage programme.
Stretching into the autumn, this scheme will see us highlight eight grassroots venues from across the UK, speaking to the people in charge about what it takes to run an independent music venue in 2026.
Each venue that features in the Main Stage series will be the subject of an article in The Independent, £5,000 worth of ad inventory, and design assets that they can use in their comms and marketing, highlighting that they're a Main Stage picked venue.
606 Club
When people think of London’s music scene, their minds probably go to huge stadiums and arenas or historically significant venues that still play host to the world’s biggest acts. But the capital city is littered with independent music venues with impressive pasts, just like this week’s pick. The 606 Club is an intimate candlelit jazz-club restaurant reminiscent of the classic clubs of New York or Paris in the 1950s and 1960s. First opening on the King’s Road in 1976 – where it was known as “the jazz hangout” – the 606 Club relocated near Chelsea Creek in 1988 to a bigger venue where UK musicians are prioritised to keep the local scene alive.
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606 Club celebrates its 50th birthday this year, and at the helm this whole time, through the relocations and all, has been Steve Rubie. A flautist and saxophonist himself, Rubie took over the venue half a century ago and developed 606 Club into a unique live music venue. “Ronnie Scott was a good friend to us and the Club, performing on the first night at the new venue, and there has been music seven nights a week and Sunday lunchtimes ever since,” he tells The Independent.
Hi Steve! How would you describe 606 Club to someone who has never been?
Rubie: At The Club, there’s no stage; the musicians and audience are all on the same level, so musicians feel at ease, while the atmosphere which is relaxed and doesn't put too much pressure on audiences to feel that it's all too precious. The Club is appreciated for the fact that it can support musicians to play what they want to play (and get paid for!), and at the same time provide a friendly and inclusive atmosphere for anyone who wants to come down and just feel a part of what we're trying to do.
What’s on the cards for the venue in the future?
Rubie: Surviving! As is well documented, the current climate for all of hospitality – and in particular live music venues – is very challenging. As well as our regular seven nights a week and Sunday lunch programme, we are also now looking to extend our presence outside of the Club and outside of London.
We have run a weekend summer Jazz Festival in the grounds of Fulham Palace for over 10 years now and in our 50th year are looking to extend that concept countrywide. We will also be presenting our 606 Jazz stage at the Torbay jazz Festival in October and have plans to tour our 50th Anniversary All Star band from January 2027.
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What are some of the biggest challenges you face as a venue?
Rubie: I think the biggest challenges are without doubt financial. Since 2020 food costs have risen by almost 40 per cent, with some items increasing by even more. Wages have also had to keep pace with these and other rises (rent, fuel etc), but at the same time we have had to temper our prices to take account of the fact that many people have less disposable income, for the same reasons. Happily we are still profit-making, but we do have to be constantly vigilant.
We also used to get regular work from various sources to put on music for outside events, but again due to the economic situation that has virtually stopped. This means that we are now constantly looking around for similar opportunities, which are these days much harder to find.
Despite the struggles, what makes running a music venue so worthwhile?
Rubie: Oh, so many things. Providing a place for some of the finest musicians in Europe to play, providing a supportive platform for young professional musicians to learn their trade and grow, seeing these same talented young musicians establishing themselves in the UK and international scenes. Artists such as Jamie Cullum, Claire Martin, Jason Rebello, Tony Kofi, Trish Clowes, Liane Carroll, Vanessa Haynes, the Stacey Brothers, Gwilym Simcock, Natalie Duncan, Kyle Eastwood and so many more all performed at the Club at the start of their careers and most still do. At the same time, seeing people coming to the Club who don’t usually go to live music venues having a great time and learning to appreciate just how exciting live music can be is also very rewarding.
What's been one of your favourite recent gigs you put on?
Rubie: I have to be honest and say I’m reluctant like to pick out any particular artist or event; I give a great deal of thought to every gig I book and have my own criteria as to why I want any particular artist to appear. We also have a really wide selection of performers and styles, from jazz, groove, soul and R&B to blues, Americana, gospel and indie so it’s a bit like comparing apples and oranges.
I guess the gig that stands out in my mind at the moment is a tribute gig I organised for a good friend, the Hungarian jazz promoter Peter Pallai, who I worked with closely on our Anglo-Hungarian exchange programme for over 20 years and who sadly passed away towards the end of last year. A remarkable man, he was very much loved in Hungary as well as here in London, and it was both moving and joyous to see so many great musicians (including a wonderful singer who flew from Budapest just to perform on the night) making such great music in such a celebratory way to an audience who were completely engaged with everything that was happening. In many ways that summed up who we are and what we try to do every night.
