Ten things learned at the inaugural Association of Independent Festivals’ Festival Congress in Cardiff in October 2014.
Emma Webster considers what to do if an audience member is taken ill or is injured at a live music event and whose responsibility it is at events to look after and treat audience members in need.
Emma Webster promotes the concept of a database of house gig promoters to coincide with the launch of an online network of house gig promoters within the UK, Gig In Your House.
In the latest addition to the ‘Live Music 101’ series of theory-based posts, Emma Webster and Adam Behr seek to offer some answers to the question of what makes for a good city for music and set out various formulations as to what makes for a ‘healthy’ live music ecology, an examination of the interplay between national and local policy and the musical city, followed by a case study of Glasgow as an archetypal ‘healthy’ musical city.
Emma Webster examines festival headliners and what makes for an ‘ideal’ way to close the main stage each day.
Emma Webster looks at the growing role of the vuvuzela in demonstrations and how it fits, or doesn’t, with other musical activities in protest.
In this addition to the ‘Live Music 101’ series of blog posts detailing the themes and ideas that developed over the course of our initial live music research project, Emma Webster offers a model of economic risk that includes the promoter, and also defines three broad ticketing (revenue) models the promoter can use in order to recoup their initial investment.
The annual Festival Awards conference was held on Monday 3rd December 2012 at the Roundhouse in Camden, London. Live Music Exchange was there and brings this report of what was learned about the UK’s festival industry this year.
Our research into live music has thrown up a number of venue typologies. This blog post in our Live Music 101 series aims to critically evaluate what is on offer, drawing on industrial, sociological, and architectural perspectives; the post includes previously unpublished work by Simon Frith.
Following on from Lord Clement-Jones’ blog post about the Campaign Against Leafleting Bans, Dr Emma Webster’s reply is based on her personal experiences as a flyerer, and on her doctoral research into the promotion of live music. In this post, she identifies a number of reasons why flyering is a vital part of grassroots live music promotion, including branding, networks, and cost.