In this repost from 2012, Matt Brennan discusses the implications and advantages for unsigned bands of a relationship with PRS for Music.
This week’s blog post celebrates Live Music Exchange’s 2nd birthday by listing some of the achievements of the Live Music Exchange and setting out our future plans.
This week’s guest blog is by Simon Frith, in which he muses on the perennial problem about musicians playing for free and suggests that the problem of ‘playing for free’ is caused by the ‘exploitation’ of live musicians by the people who make money out of them.
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.
Today’s guest post is by Suzanne Bull MBE – Chief Officer at Attitude is Everything – a project working towards improving access to live music for disabled people. Here she explains the origins of the project, the philosophy behind its continuing work with market leading festivals and venues, the Charter system of best practice and the forthcoming State of Access report.
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.
A repost of a blog 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.
Professor Simon Frith (University of Edinburgh) interviews Paul Latham, Chief Operating Officer of Live Nation UK and Chairman of Creative and Cultural Skills. Together they discuss Paul’s career in live music, the current state of the industry and the future of live music in the UK and globally, the relationship between the live and recording industries, and issues around secondary ticketing.
Eileen Hogan, of University College Cork, discusses the annual Arthur’s Day celebration and the relationship of Guinness – along with its parent company Diageo – to live music, along with the wider implications of corporate sponsorship for cultural activity and identity.
Visual artist Jenny Soep discusses her experiences of drawing live music, the pros and cons of using ‘traditional’ and digital materials, her personal guidelines for drawing live music, and links to other artists who draw or visualise live music in one form or another.