It was the third year of Venues Day on Tuesday 18th October 2016 and once again, Live Music Exchange’s Emma Webster was there to hear the latest developments in the grassroots venue sector.
Article on the impact of jazz festivals, focusing on economic impact, socio-political impact; temporal impact and intensification and transformation of experience; creative impact – music and musicians; discovery and audience development; place-making; the mediation of jazz festivals; and environmental impact.
A blog post about Chinese ticket touts, known as ‘huangniu’ or yellow cows, and the reasons why concert tickets in China are selling through the roof.
Our latest post features Live Music Exchange’s own Professor Martin Cloonan outlining recent research undertaken in Sydney on venues’ relationship with the city council.
A new report, written by Emma Webster and George McKay and published online last week, highlights the impact of British music festivals and shows that festivals are now at the heart of the British music industry, forming an essential part of the worlds of rock, classical, folk and jazz. Funded by the Arts and Humanities Research Council’s (AHRC) Connected Communities programme, the report is based on a critical literature review of more than 170 books, papers and reports.
This article considers the value of “ecology” as an analytic concept (rather than just a buzzword) and compare an ecological account of the setting in which music happens to the use of previous spatial metaphors with which to understand live music.
Funded by the Arts and Humanities Research Council, the purpose of this report is to chart and critically examine available writing about the impact of British music festivals, drawing on both academic and ‘grey’/cultural policy literature in the field.
This article examines the policies of the British Musicians’ Union towards the employment of musicians who were not UK citizens in the period from the 1920s to the 1950s, with particular emphasis on an alleged ban on American musicians entering the country.
Based on research carried out in the UK between 2008 and 2011, this paper examines the implications of the shift in discourse from recorded to live as ‘the’ popular music experience.
Based on a series of interviews conducted between 2008 and 2011 with UK-based concert promoters, this article seeks to examine the world-views of a group of individuals whose activities are currently economically dominant within the broader music industries but have hitherto largely escaped academic attention.