Author(s): The Musicians’ UnionPublisher: The Musicians’ UnionDate: 2012 With more practical guidance and advice, musicians can avoid unfair deals and just play the most worthwhile shows. To aid MU members, following extensive research, an advisory resource has been created for both musicians and promoters. The MU’s ‘Fair Play’ guide contains practical advice about co-promotion shows and other live issues, such as showcase …
Today’s post introduces the Music Venue Trust, set up at the start of the year, in which they introduce their work, and their latest campaign, centred on Noise Abatement regulation.
In her second blog for Live Music Exchange, Attitude is Everything’s Suzanne Bull sets out the aims and objectives of the charity’s new online campaign, #MusicWithoutBarriers.
This week’s blog post is by Live Music Exchange’s own Matt Brennan, this time writing in his capacity as part of an AHRC project investigating the cultural value of live music. In this post, he connects recently completed work on live music at the Queen’s Hall, Edinburgh, to a new research project on the ecology of live music venues throughout the UK.
This week’s guest blog post is by COO and Founder of WeGotTickets, Dave Newton, in which he explains how and why paperless ticketing systems are more environmentally friendly than more ‘traditional’ methods.
In today’s post, Kenny Forbes places the development of the Glasgow Hydro Arena into a historical context. He compares it to the legendary Apollo, and makes some observations about what the differences between the two say about the live music experience, and how it has changed.
In this week’s guest blog, musician Graeme Smilie looks back at some of his own memories on the road as bassist for Emma Pollock, Unwinding Hours, The Vaselines and Karine Polwart. He sets up a typology of touring musicians – those who love it and those who don’t – before offering his own enjoyable take on his four favourite venues across Europe and the USA.
The Lord Mayor of Sydney, Clover Moore, on the Council’s decision to support live music within the city via the Live Music and Performance Action Plan.
Emma Webster considers what to do if an audience member is taken ill or is injured at a live music event and whose responsibility it is at events to look after and treat audience members in need.
PRS for Music’s 2013 financial results briefing paper showed that the collection society achieved an income of £665.7m, a 3.7% increase on 2012 – live music earned £25.7m.