Festival Tourism: International – Mintel (2005)

Mintel’s report into ‘festival tourism’ and its use as a marketing tool for tourist boards worldwide.

Live Entertainment – UK – Mintel (2007)

Market research firm, Mintel’s report on the live entertainment market in 2007.

DCMS Committee Report into the Licensing Act 2003 – DCMS Committee (2009)

A report from a public into the effects of the Licensing Act of 2003, partly in response to pressure from UK Music and the Live Music Forum.

Hamish Birchall on the Live Music Act 2012

Jazz drummer and tireless music campaigner Hamish Birchall was a driving force behind the recent passage of the Live Music Act which frees up smaller venues to provide live music. In this post, he answers some questions about the campaign and the Act itself, for which many musicians and venues will have cause to be thankful.

Live Music Act 2012 – UK Parliament (2012)

An Act of Parliament that removes some of the red tape imposed by the Licensing Act of 2003 and eases restrictions on the provision of live music.

Live Music Disasters: An Introduction and Bernard Levin’s ‘On a memorable performance of Spontini’s La Vestale’

Adam Behr looks at some of the reasons why a live music event might cross the line from merely ‘bad’ into disastrous, in an introduction to Bernard Levin’s memorable and hilarious account of one such disaster.

Doing Knowledge Transfer? Researching the UK festival industry in 2010 – Emma Webster (2010)

A paper that uses an account of producing a market report for Festival Awards to examine some of the issues arising from different understandings of ‘useful knowledge’ and the how to present it.

Reflections on the Festival Business – Nod Knowles (2011)

General reflections on music festivals from a live music promotion practitioner, focusing on his experiences of Bath Festival.

The Hope Collective: Challenging accepted music industry practices in Ireland – Michael Murphy (2011)

A paper illustrating how organisations can operate in the live music sphere with practices and ideologies distinct from commercial live music promoters, using Dublin’s Hope Collective as a case study.

Live music: A local case study (Portsmouth in the 1960s) – Dave Allen (2011)

A paper that outlines an on-going project – ‘Pompey Pop’ – that documents popular music in and around the city of Portsmouth, from the end of the war in 1945 to 1969.