Music Venue Properties adds The Joiners and The Croft to Community-Owned Portfolio with Arts Council England Support

Image: Supplied. The Joiners in Southampton has championed some of Britain’s largest exports during its time in operation.

The new acquisitions will protect these grassroots venues for years to come.

Music Venue Properties (MVP), the Charitable Community Benefit Society founded by Music Venue Trust (MVT), has acquired two of the UK’s most storied grassroots venues: The Joiners in Southampton and The Croft in Bristol. The purchases come as part of MVP’s Own Our Venues initiative, backed by Arts Council England, and mark another step in the organisation’s mission to secure independent venues for the long term.

The two venues have hosted early performances from the likes of Arctic Monkeys, Ed Sheeran, Coldplay, PJ Harvey, Oasis, IDLES and Wet Leg. Now, under community ownership, both will enjoy permanent protection and long-term stability.

Ricky Bates, operator of The Joiners, described the acquisition as a turning point. “As one of the most important live music venues ever to exist in the UK, this is a win for all independent live music across the globe. With this now in place, we’ll be here for another sixty years and potentially forever.”

Marc Griffiths of World Famous Dive Bars, which runs The Croft, added: “The Croft reopened recently but the future was still very uncertain. Now, with MVP as the landlord, we know that this legendary venue will be part of Bristol’s unique music ecosystem for generations to come.”

Since its 2022 launch, Own Our Venues has raised close to £4 million through community investment and cultural partnerships, including £500,000 from Arts Council England. More than 2,000 supporters have invested, from music fans buying £50 shares to figures such as Terry and Lesley Marshall, Katie Melua and Squeeze’s Glenn Tilbrook.

“We must do everything we can to ensure these buildings are protected from development,” said Tilbrook. “They are essential for nurturing local talent and keeping live music accessible.”

Artists who began their careers in grassroots rooms also voiced their support. Frank Turner called The Joiners “vital cultural heritage,” while IDLES frontman Joe Talbot hailed The Croft’s transfer to community hands as “an example of positive investment in the community, by the community.”

With the latest acquisitions, MVP now owns seven venues nationwide, including The Snug (Atherton), The Ferret (Preston), Le Pub (Newport), The Bunkhouse (Swansea) and The Booking Hall (Dover). The initiative’s next phase aims to raise £1.5 million to secure another seven key venues by November 14, including Esquires (Bedford), The Sugarmill (Stoke-on-Trent) and Northern Guitars (Leeds).

Matt Otridge, COO of Own Our Venues, said: “The purchase and securing of The Joiners and The Croft, two iconic buildings that have launched international careers and sit at the heart of their communities, marks a historic milestone for Music Venue Properties. With these additions, seven grassroots music venues across the country are now permanently protected for further generations, and it proves the power of community ownership.”

“But the work isn’t over, and there are still many more venues under threat. This phase of the Own Our Venues campaign closes in just two weeks, and we are calling on everyone, the industry, artists, government and music fans to come together and invest what they can. Every contribution helps us to secure more venues, and each investor can then stand alongside those who already proudly say: we own these venues.”

Dr Claire Mera-Nelson, Director of Music at Arts Council England, said the acquisitions underscore the cultural and social importance of grassroots music spaces. “Both The Croft and The Joiners have launched the careers of our most treasured artists. We’re thrilled their futures are now secure.”

MVP’s ‘cultural lease’ model offers operators sustainable rent, funding for essential maintenance and ongoing operational support, providing the stability most commercial tenancies lack. The model aims to ensure that these community-owned venues continue to serve as cultural anchors and creative incubators for generations to come.

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