A report from a public into the effects of the Licensing Act of 2003, partly in response to pressure from UK Music and the Live Music Forum.
Jazz drummer and tireless music campaigner Hamish Birchall was a driving force behind the recent passage of the Live Music Act which frees up smaller venues to provide live music. In this post, he answers some questions about the campaign and the Act itself, for which many musicians and venues will have cause to be thankful.
An Act of Parliament that removes some of the red tape imposed by the Licensing Act of 2003 and eases restrictions on the provision of live music.
Adam Behr looks at some of the reasons why a live music event might cross the line from merely ‘bad’ into disastrous, in an introduction to Bernard Levin’s memorable and hilarious account of one such disaster.
A paper that uses an account of producing a market report for Festival Awards to examine some of the issues arising from different understandings of ‘useful knowledge’ and the how to present it.
General reflections on music festivals from a live music promotion practitioner, focusing on his experiences of Bath Festival.
A paper illustrating how organisations can operate in the live music sphere with practices and ideologies distinct from commercial live music promoters, using Dublin’s Hope Collective as a case study.
A paper that outlines an on-going project – ‘Pompey Pop’ – that documents popular music in and around the city of Portsmouth, from the end of the war in 1945 to 1969.
A report providing the foundations for a long term strategy of ensuring a successful and economically viable live music sector in Wales.
Paper discussing heavy metal and ‘moshing’ as being part of a ‘civilising process’, part of the process of informalisation and reflecting society’s increasing need for excitement.