Stuart Galbraith (Kilimanjaro Live) is interviewed by Simon Frith (University of Edinburgh/Mercury Prize) as part of the Live Music Exchange, Leeds event on May 4th 2012. Stuart covers topics such as his career history, the role of the promoter, the issues facing the live music industries, ticketing and setting ticket prices, the importance of festivals, the male domination of the live music sector, and the increasing importance of digital media.
A post by Kenny Forbes from Glasgow University, questions the drive towards streamlined venues and concerts. Will they ultimately make for less memorable gigs?
A post by Dr. Stephen Henderson, an authority on event marketing and management and Senior Lecturer at Leeds Metropolitan University. Here he discusses the matter of ‘impact’ and points towards the need for a clear-sighted approach to defining it.
This book is a practical, step-by-step guide through the key aspects of how to understand and manage the impacts of events of any type and scale – with checklists for action and tools for measuring performance.
This paper aims to develop thinking around the sustainable event and its contribution to competitive advantage and considers different positions that might be adopted by private and public sector organisations.
This book explores the relationship between popular music and the city using Liverpool as a case study. It highlights popular music’s unique role and significance in the making of cities, in processes of deindustrialization and in producing and promoting local culture.
This book delineates and discusses rock culture in Liverpool as a way or style of life, highlighting its associated conventions, rituals, norms, and beliefs within the city’s own unique social, economic, cultural, and political environment. It deals with the hitherto little explored music-making by ‘local’, ‘amateur’ rock bands.
This is an attempt to articulate the potentialities of carnivals for enacting both hegemonies and oppositional political formations – both are present and this piece examines their relationship and the symbolic politics of carnivals.
A large-format heavily photographic account of the festivals and gigs held at Knebworth.
This book reveals the previously hidden history of the censorship of popular music in Britain. This is detailed from the point of production in record companies, through retail outlets, attempts to prosecute records (and covers) in radio and television bans and in banned concerts and raves.