Dobe Newton, organiser of the live music census in the state of Victoria in Australia, gives some background to the census, a discussion of the research process, an overview of the findings and also comparison with wider industry figures.
Guest blog by the University of Edinburgh’s Professor Simon Frith writing about the social value of music in the context of regeneration policy.
This week’s blog post was written by music industries blogger, Bob Lefsetz, and originally published in the regular Lefsetz Letter, republished here with permission. In it, he shows how Kid Rock bargained with his merch company, and his promoter and ticket agent, in order to get a fairer deal for the fans.
This guest post by Lucy Bennett discusses the effect of mobile phone technology on live events – connecting them to fans outside the gig whilst disrupting and altering the nature of audience engagement in the venue itself.
Emma Webster looks at the growing role of the vuvuzela in demonstrations and how it fits, or doesn’t, with other musical activities in protest.
In our latest guest post, Dr.Gerard Moorey of the University of Gloucestershire, looks at the history of concerts held in private homes, and some of the reasons for their resurgence in the current musical environment.
With stars like Rihanna and Justin Bieber back in the news recently for late appearances on stage, Adam Behr takes a look at stage times, backstage rituals and the common ground as well as the differences across the spectrum of musical activity in the ‘star system’.
Today – Thursday 28th March 2013 – sees the publication of the first volume of ‘The History of Live Music in Britain’ since 1950, written by Simon Frith, Matt Brennan, Martin Cloonan, and Emma Webster, published by Ashgate.
This post is part of an occasional series originating from ‘The Musicians’ Union: A Social History’ – an AHRC and ESRC funded research project based in the School of Culture and Creative Arts at the University of Glasgow. Here, Martin Cloonan describes the Union’s dispute – up to and including appearances in court – with George Formby’s musical director Bill Main, and how they illustrate the legal and political climate around labour relations of the era.
Sheffield based sound engineer Mark Hadman provides a a few simple tips for musicians on how to work well with the monitor engineer.