Paper investigating promoters, drawing on interviews to show how they invest aesthetic values into their live music products to attract “like‐minded” people and “engineer great moments” for audiences.
A report by UK Music outlining the strength of the UK’s music industry and setting out its ambitions for the future, calling for action to support growth from both government and industry.
YouGov report on festival attendance, indicating a marked downturn between 2011 and 2012 and providing statistics of festival goers’ responses to the economic downturn and changes in the festival market.
Affectionately referred to by many as ‘The Purple Book’, the Event Safety Guide aims to help those who organise music events so that the events run safely, bringing together information needed by event organisers, contractors and employees to help them satisfy legal requirements.
Competition Commission report into acquisitions in the live music sector – includes analysis of the popular live music industry, an overview of the state of negotiations and the effects of the proposed merger.
Competition Commission report on the completed merger between TIcketmaster Entertainment Inc. and Live Nation.
Competition Commission report into the merger between Ticketmaster Entertainment, Inc and Live Nation – includes analysis of the live music industry in the UK and the competitive effects of the merger in the market for the primary retailing of tickets for live music events and in the markets for live music promotion and live music venues.
Introduction to a special issue on the business of live music, explaining its context, the conference from which it originated, and touching on the various aspects of the business that are covered.
A paper considering the aesthetic and commercial success of the ‘early music’ movement during the 1970s and 1980s, paying particular attention to discourses of authenticity and their relationship to the market-driven commercial exploitation of this form of performance.
This paper aims to examine the cultural heritage of outdoor rock and pop music festivals in Britain since the mid-1960s, and relates it to developments in, and critiques of, corporate sponsorship in the contemporary music festival sector