In our latest guest post, Dr.Gerard Moorey of the University of Gloucestershire, looks at the history of concerts held in private homes, and some of the reasons for their resurgence in the current musical environment.
With stars like Rihanna and Justin Bieber back in the news recently for late appearances on stage, Adam Behr takes a look at stage times, backstage rituals and the common ground as well as the differences across the spectrum of musical activity in the ‘star system’.
Today – Thursday 28th March 2013 – sees the publication of the first volume of ‘The History of Live Music in Britain’ since 1950, written by Simon Frith, Matt Brennan, Martin Cloonan, and Emma Webster, published by Ashgate.
This post is part of an occasional series 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. Here, Martin Cloonan describes the Union’s dispute – up to and including appearances in court – with George Formby’s musical director Bill Main, and how they illustrate the legal and political climate around labour relations of the era.
Sheffield based sound engineer Mark Hadman provides a a few simple tips for musicians on how to work well with the monitor engineer.
Sheffield-based singer-songwriter Neil McSweeney explores the idea that, for a healthy live music ecosystem within a locality, there might be an optimum number – or at the least, a minimum provision – of rehearsal spaces, recording facilities and performance spaces for a given population with a given demographic make-up. In doing do, he paves the way towards further research while highlighting its importance for policy makers and local governments.
Maps are increasingly integrated into our everyday media consumption and there’s a growth in mapping musical activity – by academics, communities and businesses. In today’s post, Adam Behr tries to unpick some of the different motivations, methods and implications of mapping the music.
Today we present a guest post by Asher Baker, an acoustic punk singer songwriter from London who performs under the name Chapter Eleven. Here he draws upon his experience of many gigs across the country to offer guidelines on how to organise a small scale DIY tour.
Musician Thomas Truax writes about his experience with a TV talent show and his subsequent decision to decline an invitation to appear on America’s Got Talent.
John Williamson looks back at how Archer Street in Soho became a hub for musicians during the days of mass unemployment during the 1930s.