With festival season coming up, Steven Brown of Glasgow Caledonian University reflects on his experiences at Festival Number 6 – winner of the best under 15,000 capacity festival at the UK Live Music Awards – and on the relationship between musical content and social context at festivals.
Ben Challis, barrister and General Counsel for Glastonbury Festivals Limited among other things, writes about the European festival association Yourope’s Standard Terms for festivals booking artists and performers for live performances, the aim of which is to protect promoters from signing contracts which force them to provide services/Riders which the promoter does not see until after the contract has been signed.
Ten things learned at the inaugural Association of Independent Festivals’ Festival Congress in Cardiff in October 2014.
Live Music Exchange’s Professor Simon Frith discusses the audience as a collective and then questions its sociological role in concerts and the problems that attracting an audience poses for promoters, arts organisations and academics as they engage in audience building and audience research.
Today’s post marks release of a new report by Live Music Exchange team members Adam Behr, Matt Brennan and Martin Cloonan – The Cultural Value of Live Music from the Pub to the Stadium: Getting Beyond the Numbers
In her second blog for Live Music Exchange, Attitude is Everything’s Suzanne Bull sets out the aims and objectives of the charity’s new online campaign, #MusicWithoutBarriers.
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.
In this repost from 2012, Matt Brennan discusses the implications and advantages for unsigned bands of a relationship with PRS for Music.
This week’s blog post celebrates Live Music Exchange’s 2nd birthday by listing some of the achievements of the Live Music Exchange and setting out our future plans.
This week’s guest blog is by Simon Frith, in which he muses on the perennial problem about musicians playing for free and suggests that the problem of ‘playing for free’ is caused by the ‘exploitation’ of live musicians by the people who make money out of them.