Annabella Coldrick is Chief Executive of the Music Managers Forum (MMF). She appeared before the UK Parliament’s Media Sport and Committee on 15 November when it discussed the issue of Ticket Touts. Here we publish an edited version of the notes which Annabella prepared for that meeting.
A tribute to Bill Kyle, jazz drummer and driving force behind The Jazz Bar on Edinburgh’s Chambers Street, who passed away suddenly at the beginning of November 2016.
By assembling long lists of acts, online live music agencies create reserve armies of labour and force fees down, writes Charles Umney.
With the Presidential election taking place tomorrow, we repost a recent piece by Live Music Exchange’s Adam Behr in The Conversation about the long and often fractious history of the use of pop in U.S. election campaigns.
In this week’s blog post, Matt Brennan introduces a new research project which launched in September: a UK-wide live music census funded by the Arts and Humanities Research Council.
It was the third year of Venues Day on Tuesday 18th October 2016 and once again, Live Music Exchange’s Emma Webster was there to hear the latest developments in the grassroots venue sector.
A blog post about Chinese ticket touts, known as ‘huangniu’ or yellow cows, and the reasons why concert tickets in China are selling through the roof.
Our latest post features Live Music Exchange’s own Professor Martin Cloonan outlining recent research undertaken in Sydney on venues’ relationship with the city council.
A new report, written by Emma Webster and George McKay and published online last week, highlights the impact of British music festivals and shows that festivals are now at the heart of the British music industry, forming an essential part of the worlds of rock, classical, folk and jazz. Funded by the Arts and Humanities Research Council’s (AHRC) Connected Communities programme, the report is based on a critical literature review of more than 170 books, papers and reports.
In today’s blog post Zósimo López, of the University of Santiago de Compostela, discusses the historical and currrent formulation of musicians’ organisations in Galicia, Spain, along with the impact of the wider economy on collective labour activities in the music industries.