It is I, povvo bitch, swooping in with my capeâbecause apparently, the middle class have decided they need a hero to explain why Lola Young is, in fact, a nepo baby.
Now, Iâm sure many people do, but personally, I donât see Young as a nepo baby just because her aunt chucked out The Gruffalo. I see her as a nepotism baby because of that success, conjoined with growing up middle-class around successful creatives, in a city that has removed barriers like travel and has an abundance of creative communities.
To put it simply: artists like Lola Young have connections to the creative world that the vast majority of working-class people simply do not have.
Working-class people arenât disappearing from the arts because theyâve gotten less creativeâitâs because wealth inequality and poverty have grown. And the even more uncomfortable truth? Benefits helped that. They levelled the playing field when the cost of living wasnât so bad.
They gave working-class creatives the time and space to make art. They could move to major cities like London and Manchester, access creative communities, build their craft. Maybe even attain a career and wealth through that, and pay back into the tax system that made it possible to fulfil what is, ultimately, a pipe dream for working-class people now.
The cost of living makes it impossible to get through the whole month with money in your account. And weâre not talking about not being able to go out with the girlies and sip on Aperol. Weâre talking about not being able to buy food. Late bills. The mounding fear of how much worse things will get.
There is no âsafety netâ for working-class people. No hotel of Mum and Dad. No life where you can âopt outâ of stress. You canât just take a deep breath and free fall into your artâthere is NOTHING that will catch you. No reassurance that if you fail, youâll still be fine.
You know what doesnât mix with creating art? Exhaustion. Panic. The kind of stress where youâre not just choosing between paying rent or eating, but actively wondering if youâll have a home in six months. Creating art requires time, and time is a luxury for people who arenât stretched to their absolute fucking limit.
Itâs not just about making artâitâs about accessing it. Want to go to a museum? Sure, if itâs free entry. But how much is a train ticket if you donât live in a city? What if you have kidsâhow are you paying for their tickets? What if you want your kids to access art but literally do not have the money to do so?
Want to go to a gig? Cool. Except our music venues have been guttedâreplaced with ugly fucking flats owned by developers. Worse yet? Said abhorrent developers build opposite a music venue, and the complaints from residents build and build until the council threatens to close these community hubsâoften the only means of hope for young people. Plays? Forget about it. And even if you do scrape the money together, do you want to be looked at like you donât belong there?
Now, you want to make art? Okay⌠But you probably donât know anybody else who actively pursues it. Not only is the idea of making art foreign, but the world where people actually do it feels untouchableâfilled with privileged people whoâd rather argue about that reality than look around and realise working-class people are ceasing to exist in those spaces.
But hey, TikTok exists, right? You can home-record using just your iPhone, GarageBandâif you have those. If you have the time, the mental headspace, the ability to do so while life as a working-class person feels like a ticking time bomb.
Want a manager? They only scout in places like London, and those âcreative communitiesâ are just people who went to Brit School or had industry connections before they ever picked up a guitar. If you live in an army town in England, youâre not exactly bounding between music venues, casually networking your way into the industry.
And the most laughable thing? The argument that going to Brit School doesnât mean youâre privileged. I would just like to add that I have literally not been able to take internships because they didnât cover travel expenses. There is no reality where I could have afforded the train fare, eaten, and still paid my bills. The assumption that accessing these institutions isnât a privilege in itself is fucking wild to me. Yet again, ignorance is screaming.
Nothing speaks to the lack of class consciousness of middle-class folk more than them desperately shaking you by the shoulders, trying to get their âstruggleâ credentials by telling you they âhad hand-me-downs too!â Real. Struggle. What they exhibit, time and time again, is an unrelenting ignorance of the actual working-class experience. We arenât struggling with hand-me-downs. Weâre struggling with generational poverty and the complete demise of social mobility. What little stability we had is now forever up for grabs.
Itâs frankly fucking exhausting seeing middle-class people perform mental gymnastics to pearl-clutch that they arenât the problem, when in reality, they arenât even listening to working-class people. Theyâre just circle-jerking other middle-class folk, convincing themselves they arenât part of the problem while excreting ignorance at every possible opportunity.
I know why this is a touchy subjectâbecause for those who put effort into their art, it feels like the accusation of nepotism takes away from that. And maybe it does. However, if youâre truly committed to equality, committed to class consciousness, you wouldnât prioritise those feelings of unfairness. You would be able to put yourself in a working-class personâs shoes and think⌠fuck⌠what would I have done if I had been born into a working-class family with manual labour jobs, in a small town with no music venues, expensive train fares, and all of my friends abandoned their dreams because reality smacked them around the face?
And fundamentally, I believe that peopleâs defensiveness about this topic is just their mind screaming at them that they donât know enough to engage thoughtfully in the discussion.
And perhaps itâs just me, but I personally feel the industryâs alleged desire to âfixâ these issues is complete bullshit. Why? Because Iâm still seeing music venue after music venue shut down. Iâm still seeing privately educated folk dominate awards season. Iâm still seeing these same people get on stage, chat absolute bollocks about diversity for over a minute, then go on tour withâshocker!âother incredibly privileged artists. Youâd think platforming new voices would be the easiest way to change things, but no. Because itâs not about talent. Itâs about social climbing, bum-licking, and birds of a feather sticking together.
Itâs a fucking con. And the UKâs creative industries are worse off because of it. True diversity means people writing their own stories, with the time, energy, and support to actually make artâprivileges only afforded to those with a lifeline, a trust fund, and the audacity to pretend they did it all alone.









