Catherine Tackley writes about amateur music-making from a personal point of view, touching on the social benefits of musical interaction, the changing relationship between audiences and performers, and the value of amateur music-making to the music economy.
This week’s guest blog post is by Andy Inglis, in which he argues against the idea that the Live Music Act 2012 is necessarily A Good Thing by considering the potential downsides of the Act.
This week’s blog post celebrates Live Music Exchange’s 2nd birthday by listing some of the achievements of the Live Music Exchange and setting out our future plans.
This week’s guest blog is by Simon Frith, in which he muses on the perennial problem about musicians playing for free and suggests that the problem of ‘playing for free’ is caused by the ‘exploitation’ of live musicians by the people who make money out of them.
Guest blogger Alison Eales writes about Glasgow’s regular jazz sessions in this week’s blog, and finds a dynamic scene which features a mix of trad and jazz styles across the city, both indoors and in the city’s outdoor public spaces.
Emma Webster promotes the concept of a database of house gig promoters to coincide with the launch of an online network of house gig promoters within the UK, Gig In Your House.
Jonny Walker, explains what the Keep Streets Live Campaign against Camden Council’s decision to license busking is currently up to and how to get involved.
A report produced from research conducted under an AHRC Cultural Engagement grant, looking at state provision of support for Scottish music industry practitioners, with a particular emphasis on showcasing activities.
Today’s post features Professor George McKay writing in response to the death of Nelson Mandela about some of the experiences of South African jazz musicians under apartheid in the 1960s.
Today’s guest post is by Suzanne Bull MBE – Chief Officer at Attitude is Everything – a project working towards improving access to live music for disabled people. Here she explains the origins of the project, the philosophy behind its continuing work with market leading festivals and venues, the Charter system of best practice and the forthcoming State of Access report.