Presents ethnographic work on open mic nights in Edinburgh, a hitherto under examined activity that lies in the hinterland of professional live music and serves as a junction between professional and amateur practice. Details implicit and explicit codes of behaviour and a typology of different nights.
This paper explores what it means to talk of live music as a right by looking at the ways in which courts and other actors constitute music as a political entity to which such rights might be attached, with case studies of grime artist Giggs and the merger of Live Nation and Ticketmaster.
A ‘Live Music Kit’ provided by the Musicians’ Union containing practical and creative advice for venues to coincide with the implementation of the Live Music Act on 1 October 2012.
The aim of this research paper is to examine why concert promoters sometimes advertise sold-out live music shows when nobody can buy tickets any longer. It suggests that the Durkheimian model illuminates a point of connection between commerce and affect in the reception of star performances.
Practical advice on developing noise-control strategies in the music and entertainment industries to prevent or minimise the risk of hearing damage from the performance of both live and recorded music and meet legal obligations under the Control of Noise at Work Regulations (2005).
The creative industries are a key driver of Britain’s economic growth but the creative workforce suffers from poor social representation. A range of experts offer their thoughts on why social mobility is so low in the creative industries, and how policymakers and the industry can improve it.
This report presents the conclusions and recommendations from a study commissioned by Creative Scotland. The overall purpose was to identify an appropriate approach and method for examining the economic impact of the Arts and Creative Industries in Scotland.
Paper investigating promoters, drawing on interviews to show how they invest aesthetic values into their live music products to attract “like‐minded” people and “engineer great moments” for audiences.
A report by UK Music outlining the strength of the UK’s music industry and setting out its ambitions for the future, calling for action to support growth from both government and industry.
Affectionately referred to by many as ‘The Purple Book’, the Event Safety Guide aims to help those who organise music events so that the events run safely, bringing together information needed by event organisers, contractors and employees to help them satisfy legal requirements.