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.
An introduction to the MU’s free Live Music Kit which contains advice for venue owners and publicans on how to run successful live music gigs in accordance with new and existing legislation, and demonstrates the benefits of live music within pubs and venues, in terms of increased clientèle, sales and revenue.
Blogger Mark Reed gives a ticking off to the Tate in an open letter over the Kraftwerk fiasco; in doing so, he puts forward the argument that ticket agencies can be the more efficient option.
The annual Festival Awards conference was held on Monday 3rd December 2012 at the Roundhouse in Camden, London. Live Music Exchange was there and brings this report of what was learned about the UK’s festival industry this year.
John Wardle is one of Australia’s foremost advocates for live music. A musician and teacher, his research and campaigning work has led to involvement in music policy at both state and federal level. As a leader in the Raise the Bar campaign, he was instrumental in the removal of New South Wales’ Place of Public Entertainment Licenses in 2009, which has freed up the provision of live music there. He was also a source of advice for the UK Live Music Forum’s campaign for exemption for small gigs, which culminated in this year’s Live Music Act. His latest success comes with the introduction of the Small Venue License in South Australia, which does away with the ‘needs test’ and a separate process for an entertainment license. Here, he discusses this new development and explains what work there is still be done.
As the Stones roll into town for their anniversary shindig, with accompanying media hullaballoo, it seems timely to take a look at their place in the modern music environment. Following Martin Cloonan’s autobiographical celebration of their history and its place in his own life, Adam Behr makes the case for their continuing relevance to developments in how popular music is consumed, examining their role as an emblem for rock music in the context of current discussions about ticket prices.
Our research into live music has thrown up a number of venue typologies. This blog post in our Live Music 101 series aims to critically evaluate what is on offer, drawing on industrial, sociological, and architectural perspectives; the post includes previously unpublished work by Simon Frith.
Following on from Lord Clement-Jones’ blog post about the Campaign Against Leafleting Bans, Dr Emma Webster’s reply is based on her personal experiences as a flyerer, and on her doctoral research into the promotion of live music. In this post, she identifies a number of reasons why flyering is a vital part of grassroots live music promotion, including branding, networks, and cost.
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.