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 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.
In this addition to the ‘Live Music 101’ series of blog posts detailing the themes and ideas that developed over the course of our initial live music research project, Emma Webster offers a model of economic risk that includes the promoter, and also defines three broad ticketing (revenue) models the promoter can use in order to recoup their initial investment.
Last Summer Howard Thorpe of ABLE2UK staged his first concert for disabled awareness. Based on the website, ABLE2UK, the night welcomed the likes of Steve Cradock, Miles Kane, Frank Turner, Billy Bragg, Mystery Jets, and Friendly Fires for a five-hour benefit concert at Camden’s Roundhouse to fund more disabled facilities at festivals throughout the UK. He talks here about five ways to improve such access.