This week’s blog post is by Live Music Exchange’s own Matt Brennan, this time writing in his capacity as part of an AHRC project investigating the cultural value of live music. In this post, he connects recently completed work on live music at the Queen’s Hall, Edinburgh, to a new research project on the ecology of live music venues throughout the UK.
This week’s guest blog post is by COO and Founder of WeGotTickets, Dave Newton, in which he explains how and why paperless ticketing systems are more environmentally friendly than more ‘traditional’ methods.
In today’s post, Kenny Forbes places the development of the Glasgow Hydro Arena into a historical context. He compares it to the legendary Apollo, and makes some observations about what the differences between the two say about the live music experience, and how it has changed.
In this week’s guest blog, musician Graeme Smilie looks back at some of his own memories on the road as bassist for Emma Pollock, Unwinding Hours, The Vaselines and Karine Polwart. He sets up a typology of touring musicians – those who love it and those who don’t – before offering his own enjoyable take on his four favourite venues across Europe and the USA.
The Lord Mayor of Sydney, Clover Moore, on the Council’s decision to support live music within the city via the Live Music and Performance Action Plan.
Emma Webster considers what to do if an audience member is taken ill or is injured at a live music event and whose responsibility it is at events to look after and treat audience members in need.
PRS for Music’s 2013 financial results briefing paper showed that the collection society achieved an income of £665.7m, a 3.7% increase on 2012 – live music earned £25.7m.
In this repost from 2012, Matt Brennan discusses the implications and advantages for unsigned bands of a relationship with PRS for Music.
Live music campaigner and jazz musician Hamish Birchall writes this week’s guest blog post on the ongoing campaign in Camden against the licensing of busking.
Catherine Tackley writes about amateur music-making from a personal point of view, touching on the social benefits of musical interaction, the changing relationship between audiences and performers, and the value of amateur music-making to the music economy.