Louise Dodgson, Editor of The Unsigned Guide on the perils of pay to play at the grassroots level – she discusses what pay to play is and isn’t, and how to avoid pay to play.
Today’s guest post by Jonny Walker – singer, songwriter and founder of the Association of Street Performers – comes in the face of recent moves against buskers by Camden council, which is considering draconian restrictions and fines. In advance of the council decision next week, Jonny outlines the ramifications of these proposals and the relationship of street music to city life.
A repost of a blog post by Dr. Stephen Henderson, an authority on event marketing and management and Senior Lecturer at Leeds Metropolitan University. Here he discusses the matter of ‘impact’ and points towards the need for a clear-sighted approach to defining it.
Professor Simon Frith (University of Edinburgh) interviews Paul Latham, Chief Operating Officer of Live Nation UK and Chairman of Creative and Cultural Skills. Together they discuss Paul’s career in live music, the current state of the industry and the future of live music in the UK and globally, the relationship between the live and recording industries, and issues around secondary ticketing.
Julie’s Bicycle guide contains the most up-to-date and comprehensive guidance to help you embed good environmental sustainability practice at the heart of your production.
Executive summary of the results of New World Symphony’s trial of four different concert formats, designed to attract new and different audiences.
Report co-produced by the Musicians’ Union and UK Music which assesses the impact of the Live Music Act 2012, published one year after the introduction of the Act.
Eileen Hogan, of University College Cork, discusses the annual Arthur’s Day celebration and the relationship of Guinness – along with its parent company Diageo – to live music, along with the wider implications of corporate sponsorship for cultural activity and identity.
A paper examining the curious phenomenon of the encore ritual in live music events, which argues that while the encore began as a spontaneous display of audience enthusiasm, it has now become an expected and ritualized part of a live music performance.
Visual artist Jenny Soep discusses her experiences of drawing live music, the pros and cons of using ‘traditional’ and digital materials, her personal guidelines for drawing live music, and links to other artists who draw or visualise live music in one form or another.