This week’s post features the management of Leith Depot – a small venue in Edinburgh – discussing the experience of getting the space up and running, the valuable role it plays in the local music scene, and the threat to its continued existence from a proposed development on its site.
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.
In this week’s post we’re pleased to present Neil Cooper’s stirring address to Edinburgh’s Live Music Matters Forum at Usher Hall last week, organised by City of Edinburgh Council. His overview shows that that the cultural life of a city cannot be taken for granted in the face of urban development.
In anticipation of the EFG London Jazz Festival, Emma Webster’s blog post considers the signs of festival – how we know a festival is on its way before it begins.
This week’s blog post marks the release of Adam Behr, Emma Webster and Matt Brennan’s report on the findings of the Edinburgh live music census, held in June 2015, including highlights from the report, subsequent recommendations to Edinburgh City Council, and links to the report itself.
A report containing the findings of the Edinburgh live music census, held in June 2015, and subsequent recommendations to Edinburgh City Council.
Neil Cooper is an arts journalist and critic who writes extensively for The Herald, The List and other publications in Scotland and beyond. Active in promoting, and protecting, Scotland’s live music scene, he provides an overview here of the rich variety of musical assets in Edinburgh – and the challenges they face.
Today’s post contains information about an important new research project in Edinburgh being run by the Live Music Exchange team. There are opportunities for live music practitioners and audiences across Edinburgh to get involved. Read on to find out more and do get in touch if you’re interested.
MJ Hibbett offers musicians a survival guide to the Edinburgh Fringe, and some thoughts on the difference between Fringe gigs and regular gigs along with why bands are well equipped to deal with it.
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.