This video is the keynote address from the Live Music Exchange: Cardiff event, November 10th, 2012. Professor George McKay gives a wide ranging presentation, which covers the history of music festivals in the context of the music industry, and also deals with its relationship to a sense of place in terms of both society and geography.
Jeff Thompson explains the concept behind the Off Axis Network, a proposed UK-wide network of musicians, promoters, and venues. The network aims to empower grassroots musicians by establishing a national ‘gig swap’ system by which musicians can build credit via an online system, which will then enable them to play all over the country.
Lord Clement-Jones, one of the driving forces behind the Live Music Act 2012, is now involved in a campaign to protect small-scale cultural and community events from local authority restrictions on flyering. In this blog post, he explains why he believes that leafleting is a key civic freedom and one vital to grassroots events.
In today’s post Fabian Holt, of Roskilde University, uses the Live Music Exchange website to present a working paper on the evolution and organisational culture of mid-size venues in New York. Taking as his primary case study the Bowery Presents chain of venues he traces the gentrification process back to the Fillmore auditoriums, described last week by Steve Waksman. His analysis ties changes in venues audiences to narratives of ‘cool’ in modern business practice and consumer habits, along with their self-definition as distinctive and discerning.
Nathan Clark, general manager and promoter at the award winning Brudenell Social Club in Leeds, talks here about its history, its unique status and the DIY ethic at its heart. He also touches on the Leeds music scene more generally and the wider relationship between promoters, venues, acts, government and the academy.
This is a video from the Live Music Exchange, Leeds event. It features Dr. Paul Carr, Head of the Music Academy at the University of Glamorgan, discussing the research that led to his recently published report ‘Playing Wales: the relationship between higher education and the live music industry in Wales.’ The paper covers the methodology of the research, including an online questionnaire, and looks at some of the specific features of the Welsh live music landscape. It also examines ways in which Higher Education institutions can build a more mutually productive relationship with the live music sector, including techniques such as giving credits for industrial experience, helping musicians to apply for grants and engaging in knowledge transfer partnerships.
We present a PechaKucha presentation (20 slides of 20 seconds each) by Evangelos Chrysagis, a PhD candidate in social anthropology at the University of Edinburgh. Here he presents findings from 18 months of fieldwork in Glasgow where he investigated the practices of the local DIY music community.
A post by Kenny Forbes from Glasgow University, questions the drive towards streamlined venues and concerts. Will they ultimately make for less memorable gigs?
A post by Dr. Stephen Henderson, an authority on event marketing and management and Senior Lecturer at Leeds Metropolitan University. Here he discusses the matter of ‘impact’ and points towards the need for a clear-sighted approach to defining it.
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.