The genesis of the Live Music Exchange was a comprehensive three-year study of the live music sector in the UK, undertaken by the University of Edinburgh and the University of Glasgow and funded by the Arts and Humanities Research Council.
After a successful conference to mark the completion of the study and with a three book series forthcoming, this project , also supported by the AHRC, marks the progression of our work into knowledge transfer. Building bridges between the academy, the music industries and the wider public, Live Music Exchange is informed by academic research and hands-on experience in a range of musical contexts. It’s our starting premise that constantly shifting relationships between state and commercial investors, small scale and corporate interests, merits a view of live music practice on an ecological model. From a neutral standpoint, we’ll be working with a host of practitioners to promote a healthy and vibrant environment. We are able to bring our expertise to bear on consultancy and research services across the field of musical activity.
Professor Simon Frith – Director
Simon Frith is Tovey Professor of Music at the University of Edinburgh. A founder member of the International Association for the Study of Popular Music and a founding editor of the journal Popular Music he has published regularly in this field and edited several key collections, including On Record (with Andrew Goodwin, 1992), The Cambridge Companion to Pop and Rock (with John Street and Will Straw, 2001) and Popular Music: Critical Concepts In Media and Cultural Studies, Volumes 1-4 (2004) Notable book publications include Sound Effects (1983), Performing Rites (1996) and Taking Popular Music Seriously (2007). The Art of Record Production (co-edited with Simon Zagorski-Thomas) will be published by Ashgate in September 2012. Simon has also had long engagement with the popular music world through policy research and as a music journalist (for publications such as Melody Maker, Village Voice, The Sunday Times and The Observer). He has chaired the judges of the Mercury Prize since its inception in 1992.
Professor Martin Cloonan – Director
Martin Cloonan is Professor of Popular Music Politics at the University of Glasgow where he is also Convenor of Postgraduate Studies in Music within the School of Culture and Creative Arts. His research interests include the politics of popular music, and issues concerning regulation, censorship and freedom of expression, in which he has published extensively and he sits on the editorial board for the journals Popular Music, Popular Music and Society and the Beitrage zur Popularmusikforschung. Notable book publications include Dark Side of The Tune: Popular Music and Violence (with Bruce Johnson, 2008), Popular Music and the State in the UK (2007) and Banned! Censorship of Popular Music in Britain: 1967-92 (1996). Martin also manages the Glasgow-based band Zoey Van Goey and chairs the anti-censorship organisation Freemuse.
Dr. Emma Webster – Director & External Relations Officer
Emma Webster received her PhD from the University of Glasgow in November 2011. The title of her thesis was ‘Promoting Live Music: a behind-the-scenes ethnography’, and the research involved comparative ethnographic work into live music scenes in Glasgow, Bristol, and Sheffield, including participant observation and extensive interviews with live music workers and audiences. Prior to this, she received a Bachelor of Music from the University of Sheffield and then worked for eight years in music in a variety of roles and genres including opera, ‘world’ music, acid techno and digital distribution. With previous experience in marketing, historical and statistical data analysis, and company management, and working at a variety of levels from small-business to large arts organisations and local councils, she brings a broad skill-set to the Live Music Exchange, along with a comprehensive understanding of the varied needs and interests of stakeholders in the UK live music sector. Emma currently holds an Honorary Research Fellowship at Oxford Brookes University.
Dr. Adam Behr – Director & Research Associate
Dr Adam Behr is a Research Associate at the University of Edinburgh, where he is working on a project investigating the cultural value of live music, and at the University of East Anglia, where he is researching musicians’ practice regarding copying and copyright. He has taught a range of popular music and related courses at the Universities of Edinburgh, Glasgow, Stirling and City University, London. His PhD, from Stirling, involved historical and ethnographic research into the evolution and social dynamics of the rock band as form of creative practice. Subsequent research also includes work on the relationship between small-scale open-mic scenes and the wider music world and the practical aspects of balancing local and national identity against the expectations of outsiders for practitioners of global musical forms. Adam has also performed as a guitarist, bass player and DJ in a variety of contexts and has extensive front-line experience of event and venue management.
Dr. Matt Brennan – Director & Research and Management Consultant
Matt Brennan is a Chancellor’s Fellow of Music at the University of Edinburgh and Chair of the UK and Ireland branch of the International Association for the Study of Popular Music (IASPM). His work has previously appeared in the journals Popular Music, Popular Music History, and Jazz Research Journal. His current research interests include the live music sector and the social history of the drum kit.
Danny Hagan - Co-Founder, Green Man Festival
Mark Hobson - Managing Director, Corporation, Sheffield
Nod Knowles - Nod Knowles Productions
Paul Latham – President UK Live Nation; Chair, National Skills Academy for Creative & Cultural
Sheena Macdonald – Regional Organiser (Scotland and Northern Ireland), Musicians’ Union
Louise Mitchell – CEO, Bristol Music Trust
Will Page – Economist, Spotify
Alex Reedijk – General Director, Scottish Opera
RECENT BLOG POSTS
Making Sense of Pomplamoose – Professor Simon Frith
‘Understanding Small Music Venues': Introducing an Interim Findings Report – Mark Davyd
Reflections on music related hearing damage – Chris Adams