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 is the latest in an occasional series of posts 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. Dr. John Williamson looks back at the origins of the Musicians’ Union, on the occasion of its 120th anniversary last month.
Our latest guest post is by Luis-Manuel Garcia, of the Max Planck Institute for Human Development, Berlin. It provides a brief overview of the author’s in-depth article for Resident Advisor. Here he explains the background to the dispute that has erupted regarding the German royalty collection society’s proposed tariff reforms and their potential effect on the nightclub scene.
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.