It is I, povvo bitch, swooping in with my cape—because apparently, the middle class have decided they need a hero to explain why Lola Young is, in fact, a nepo baby.
Now, I’m sure many people do, but personally, I don’t 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 aren’t disappearing from the arts because they’ve gotten less creative—it’s 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 wasn’t 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 we’re not talking about not being able to go out with the girlies and sip on Aperol. We’re talking about not being able to buy food. Late bills. The mounding fear of how much worse things will get.
There is no ‘safety net’ for working-class people. No hotel of Mum and Dad. No life where you can ‘opt out’ of stress. You can’t just take a deep breath and free fall into your art—there is NOTHING that will catch you. No reassurance that if you fail, you’ll still be fine.
You know what doesn’t mix with creating art? Exhaustion. Panic. The kind of stress where you’re not just choosing between paying rent or eating, but actively wondering if you’ll have a home in six months. Creating art requires time, and time is a luxury for people who aren’t stretched to their absolute fucking limit.
It’s not just about making art—it’s about accessing it. Want to go to a museum? Sure, if it’s free entry. But how much is a train ticket if you don’t live in a city? What if you have kids—how 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 gutted—replaced 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 hubs—often 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 don’t belong there?
Now, you want to make art? Okay… But you probably don’t 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 untouchable—filled with privileged people who’d 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, GarageBand—if 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 ‘creative communities’ 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, you’re 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 doesn’t mean you’re privileged. I would just like to add that I have literally not been able to take internships because they didn’t 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 isn’t 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 ‘struggle’ credentials by telling you they ‘had hand-me-downs too!’ Real. Struggle. What they exhibit, time and time again, is an unrelenting ignorance of the actual working-class experience. We aren’t struggling with hand-me-downs. We’re struggling with generational poverty and the complete demise of social mobility. What little stability we had is now forever up for grabs.
It’s frankly fucking exhausting seeing middle-class people perform mental gymnastics to pearl-clutch that they aren’t the problem, when in reality, they aren’t even listening to working-class people. They’re just circle-jerking other middle-class folk, convincing themselves they aren’t part of the problem while excreting ignorance at every possible opportunity.
I know why this is a touchy subject—because 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 you’re truly committed to equality, committed to class consciousness, you wouldn’t prioritise those feelings of unfairness. You would be able to put yourself in a working-class person’s 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 people’s defensiveness about this topic is just their mind screaming at them that they don’t know enough to engage thoughtfully in the discussion.
And perhaps it’s just me, but I personally feel the industry’s alleged desire to ‘fix’ these issues is complete bullshit. Why? Because I’m still seeing music venue after music venue shut down. I’m still seeing privately educated folk dominate awards season. I’m still seeing these same people get on stage, chat absolute bollocks about diversity for over a minute, then go on tour with—shocker!—other incredibly privileged artists. You’d think platforming new voices would be the easiest way to change things, but no. Because it’s not about talent. It’s about social climbing, bum-licking, and birds of a feather sticking together.
It’s a fucking con. And the UK’s 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 art—privileges only afforded to those with a lifeline, a trust fund, and the audacity to pretend they did it all alone.










