Richmond’s do-it-yourself music scene is shifting as traditional house venues become less central, but artists and organizers say the community continues to adapt in new ways. This shift mirrors the national trend of independent venues struggling to make ends meet, according to Forbes.
Often operating out of rented homes throughout the city and near Virginia Commonwealth University, these Richmond venues have historically provided accessible performance spaces for local and touring acts, particularly those outside mainstream genres.
Carlos Reyes, a Richmond-based rapper who performs under the stage name DuctTape Jesus, won first place in the 2025 RVA Magazine Reader’s Poll for current local hip-hop artists. Reyes noted a significant decline in the number of informal house shows compared to when he first entered the scene.
“Less house shows — that’s probably the biggest thing,” Reyes said. “COVID killed all that.”
Before the pandemic, Richmond had a broader network of DIY spaces that made it easier for artists to connect and perform regularly, according to Reyes.
“There used to be … just mad house spots,” Reyes said.
While some venues have disappeared, organizers say the shift is not driven by a single factor. Rising housing costs, turnover in student populations and increased scrutiny of informal events and noise ordinances have contributed to changes in how these spaces operate.
Chloe Quiambao is a local booker and former DIY organizer who became plugged into the scene through karaoke nights at Ipanema, a former bar and restaurant on Grace Street near VCU. That stretch of Grace Street has been a part of the city’s music history stretching back decades, though VCU has now acquired much of the real estate.
Quiambao said natural decline is an element in house shows for many of the reasons listed above. But the social dynamics within the scene have also played a role.
“I feel like cancel culture has definitely added to the decline of some spaces,” Quiambao said.
Quiambao said concerns about reputation and accountability can discourage participation, particularly in loosely organized environments where trust between organizers and performers is essential. She added that as people age out of the scene or move away, fewer individuals are stepping in to replace them.
A recent study conducted by the National Independent Venue Association found that in 2024, 64% of independent stages were not profitable. These venues collectively paid $12 billion in federal taxes that year.
Andrew Cothern is a Richmond-based music writer and author whose book RVA Playlist: Stories from the Richmond, Virginia Music Scene features his articles written from 2006-2016.
Cothern said access to the music scene has expanded in recent years, even if venues fluctuate. The scene has not disappeared, but evolved alongside broader changes in how music is shared and promoted.
“I feel like there’s a bigger community now, and it’s more accessible,” Cothern said.
Cothern said independent venues still serve an important role by giving artists the freedom to experiment without the expectations often associated with established venues.
“Independent venues really foster that creative community,” Cothern said. “People like gravitating toward that.”
That flexibility has historically made DIY spaces an important entry point for emerging artists, particularly those still developing their sound or audience.
As those opportunities shift, artists are increasingly turning to digital platforms to reach listeners. Social media has made it easier to promote music and connect with audiences beyond Richmond, though it changes the nature of audience engagement.
Some artists now rely on platforms like TikTok and Instagram, while others continue to prioritize in-person connections through smaller shows and word-of-mouth promotion, Cothern said. Those shifts are part of a broader pattern, and the city’s music culture has long adapted to new conditions.
“The music scene is constantly changing,” Cothern said.
by Nathan Edwards, VCU Capital News Service
Photo: Nathan Edwards
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