Article examining the iconic Liverpool venues of the Cavern Club, Eric’s Club, and Cream, but which ‘decentres’ the ‘master map’ of the three venues by paying attention to hidden or alternative histories of the city’s live music scene.
In the latest addition to the ‘Live Music 101’ series of theory-based posts, Emma Webster and Adam Behr seek to offer some answers to the question of what makes for a good city for music and set out various formulations as to what makes for a ‘healthy’ live music ecology, an examination of the interplay between national and local policy and the musical city, followed by a case study of Glasgow as an archetypal ‘healthy’ musical city.
Emma Webster examines festival headliners and what makes for an ‘ideal’ way to close the main stage each day.
This guest post is by Laura Merry, part of the Muscular Dystrophy Campaign’s network of young Trailblazers. In it, Laura introduces the recent Trailblazers report on the subject of disabled access at live music events and provides a first hand account of some of her own experiences.
Jordan Canada offers advice to musicians by pointing out three things that musicians should not do with social media to get a gig.
A blog post to flag up the opportunity to contribute to The Purple Guide to Health, Safety and Welfare at Music and Other Events, currently being rewritten (2013).
Using the example of Low at the Rock the Garden show, Andrea Swensson questions the unspoken contract between artist and audience to ask what it actually is that we are buying when we purchase a concert ticket.
Today’s guest post is by Dr. Abigail Gardner, Subject Group Leader for Media courses at the University of Gloucestershire. Here she discusses festivals, and heritage acts, in the context of how audiences experience them and their roles as living ‘archives’ of personal and musical history.
Book chapter that discusses two outdoor festivals in the UK with reference to the public entertainment licenses, economic impact to local communities and how principal sponsors add to the dynamic nature and long-term sustainability of outdoor festivals.
This article maps and theorizes online jazz fandom activities around live music, and then reports on applied experimental work that the authors undertook with jazz promoters and musicians to explore ways in which live music can be situated in the activities of online fandom.