Author(s): Emma Webster, Matt Brennan, Adam Behr and Martin Cloonan with Jake Ansell Organisation: University of Edinburgh / Live Music Exchange Date: 2018 Download the UK Live Music Census toolkit (zipped file) For 24 hours from noon on Thursday 9th March 2017, an army of volunteers in cities across the country went out and about to live music events, from …
Author(s): Emma Webster, Matt Brennan, Adam Behr and Martin Cloonan with Jake Ansell Organisation: University of Edinburgh / Live Music Exchange Date: 2018 The UK’s first ever national live music census took place in 2017. For 24 hours from noon on Thursday 9th March, volunteers in cities across the country went out and about to live music events, from pub …
Robert Kronenburg explores the idea of a ‘Music City’, a term starting to be used more widely to describe initiatives being developed by some cities that recognise popular music as a key part of their heritage and identity and as a possible vehicle for regeneration and cultural tourism.
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.
Louise Dodgson, Editor of The Unsigned Guide on the perils of pay to play at the grassroots level – she discusses what pay to play is and isn’t, and how to avoid pay to play.
Executive summary of the results of New World Symphony’s trial of four different concert formats, designed to attract new and different audiences.
This guest post is by Laura Merry, part of the Muscular Dystrophy Campaign’s network of young Trailblazers. In it, Laura introduces the recent Trailblazers report on the subject of disabled access at live music events and provides a first hand account of some of her own experiences.
Dobe Newton, organiser of the live music census in the state of Victoria in Australia, gives some background to the census, a discussion of the research process, an overview of the findings and also comparison with wider industry figures.
In the third of our series on the theories that underpin our research into live music, Matt Brennan and Emma Webster attempt to define the promoter and how they operate, in an extract from ‘Why Concert Promoters Matter’, originally published in Scottish Music Review in 2011. The authors analyse existing accounts of live music promoters and offer their own analysis of what a promoter is and does, concluding that promoters may use one or more of three basic models of promotion within rock and pop: ‘independent’, ‘artist-affiliated’, and ‘venue’.