Throwing A Lifeline To Grass Roots Music Venues – Horace Trubridge
Horace Trubridge, Assistant General Secretary of the Musicians’ Union reflects on his experience of music venues and the increasingly challenging environment in which they operate. He suggests that if a healthy grass roots live scene is key to the emergence of the talent which fuels the music industry, shouldn’t the industry be doing more to help?
Towards the close of 2014, Pompaloose’s Jack Conte posted a detailed breakdown of their 23 date US tour income and costs, and provoked a lively blogosphere debate. With the dust settled, Live Music Exchange’s Professor Simon Frith discusses what can be learned from the post and the spectrum of perspectives it mobilised.
The Music Venue Trust and the Institute for Contemporary Music Performance present the interim findings from their national research into the UK’s music venue circuit.
Chris Adams on loudness induced hearing damage caused by working in live music environments and a plea for better education for those working with (and enjoying) loud live music.
Ten things learned at the inaugural Venues Day 2014 at London’s Southbank Centre in December 2014.
Mark Davyd, creator and CEO of the Music Venue Trust, muses on Venues Day 2014, an event celebrating small independent music venues across the UK.
Ben Challis, barrister and General Counsel for Glastonbury Festivals Limited among other things, writes about the European festival association Yourope’s Standard Terms for festivals booking artists and performers for live performances, the aim of which is to protect promoters from signing contracts which force them to provide services/Riders which the promoter does not see until after the contract has been signed.
Ten things learned at the inaugural Association of Independent Festivals’ Festival Congress in Cardiff in October 2014.
Today’s post is by Colin Miller – a writer of local histories. Here he discusses his musical memories of Leicester, 1953 – 1964
Live Music Exchange’s Professor Simon Frith discusses the audience as a collective and then questions its sociological role in concerts and the problems that attracting an audience poses for promoters, arts organisations and academics as they engage in audience building and audience research.