Phill Jupitus Calls Out David Byrne: Why Theatre Venues Need Real Accessibility Plans

When you drop £270 on concert tickets, you expect to actually see the show. Phill Jupitus, the beloved BBC personality and Buzzcocks captain, learned that lesson the hard way at David Byrne’s Edinburgh Playhouse performance on July 22. He arrived at a seated theatre venue, took his seat, and watched as other audience members stood up to dance—effectively blocking his entire view of the stage. For someone with a leg condition that prevents extended standing, this wasn’t just disappointing. It was exclusionary, and Jupitus isn’t holding back about it.

The core of Jupitus’s criticism is actually pretty simple: Byrne’s show is visually intricate and choreographed down to the minute details. It’s not a casual performance you can enjoy with your eyes closed or your view partially blocked. It’s designed to be seen in full. When Byrne encouraged people to dance at a seated theatre venue, he created a conflict between the performance style and the physical space. People stood, disabled attendees couldn’t see, and everyone who paid for a seat got a terrible deal. Jupitus argues that Byrne should have either booked a larger general-admission venue like Glasgow’s Barrowland or Hydro Arena, or stuck with the theatre format and asked people to stay seated.

This story matters because it highlights a real gap in how touring artists and venues plan their shows. Accessibility isn’t an afterthought; it’s a core part of fairness. If you’re charging theatre prices at a theatre space, audiences have the right to expect that the venue’s format will actually work. What do you think—should artists be held responsible for how their performance style conflicts with their venue choice?