Professor Simon Frith (University of Edinburgh) interviews Paul Latham, Chief Operating Officer of Live Nation UK and Chairman of Creative and Cultural Skills. Together they discuss Paul’s career in live music, the current state of the industry and the future of live music in the UK and globally, the relationship between the live and recording industries, and issues around secondary ticketing.
Eileen Hogan, of University College Cork, discusses the annual Arthur’s Day celebration and the relationship of Guinness – along with its parent company Diageo – to live music, along with the wider implications of corporate sponsorship for cultural activity and identity.
Visual artist Jenny Soep discusses her experiences of drawing live music, the pros and cons of using ‘traditional’ and digital materials, her personal guidelines for drawing live music, and links to other artists who draw or visualise live music in one form or another.
This guest post by Darren Mueller- saxophonist, teacher and PhD candidate at Duke University – reflects on how live jazz performances are haunted, and infused, by the recordings of the past.
MJ Hibbett offers musicians a survival guide to the Edinburgh Fringe, and some thoughts on the difference between Fringe gigs and regular gigs along with why bands are well equipped to deal with it.
Emma Webster examines festival headliners and what makes for an ‘ideal’ way to close the main stage each day.
Jordan Canada offers advice to musicians by pointing out three things that musicians should not do with social media to get a gig.
Using the example of Low at the Rock the Garden show, Andrea Swensson questions the unspoken contract between artist and audience to ask what it actually is that we are buying when we purchase a concert ticket.
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.