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Facilitating Music Tourism for Scotland's

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Facilitating Music Tourism for Scotland's Facilitating Music Tourism for Scotland’s Creative Economy AHRC Creative Economy Engagement Fellowship Report Dr Matthew Ord Dr Adam Behr Contents Table of Contents Acknowledgements ................................................................................................................... i List of Abbreviations ............................................................................................................... ii Executive Summary ............................................................................................................... iii Summary of Key findings .............................................................................................................. iii Key recommendations ..................................................................................................................... v Further research .............................................................................................................................. vi Introduction: music tourism in Scotland ............................................................................... 1 What is music tourism? What is a music tourist? ........................................................................... 3 Methodology ................................................................................................................................... 4 Chapter 1. Connecting music and tourism: knowledge and networks ............................... 5 Introduction ..................................................................................................................................... 5 Tourist experiences and local knowledge ....................................................................................... 6 Tour guides and operators ............................................................................................................... 8 UK-based operators ......................................................................................................................... 9 Case study: the hospitality sector in Glasgow .............................................................................. 12 Finding solutions ........................................................................................................................... 14 Retailers as knowledge sources: opportunities and barriers ......................................................... 22 Networking .................................................................................................................................... 24 Conclusion .................................................................................................................................... 26 Recommendations ......................................................................................................................... 27 Chapter 2. Music tourism, place and identity ..................................................................... 28 Introduction ................................................................................................................................... 28 Music and the Scottish brand ........................................................................................................ 29 Urban and rural contexts ............................................................................................................... 31 Festivals and location .................................................................................................................... 32 The urban context .......................................................................................................................... 33 Location ........................................................................................................................................ 34 Place and neighbourhood branding ............................................................................................... 36 Music cities ................................................................................................................................... 38 Considering local context .............................................................................................................. 42 Involving the whole city ............................................................................................................... 44 Brexit ............................................................................................................................................. 44 Conclusion .................................................................................................................................... 47 Chapter 3. Music tourism, policy and government ............................................................ 49 Introduction ................................................................................................................................... 49 Music businesses, government and policy .................................................................................... 51 Licensing and music as ‘noise’: reactive policies ......................................................................... 55 Impact on music infrastructure: venues ........................................................................................ 57 Funding principles: conceptualizing the musical career ............................................................... 60 Accreditation and awards .............................................................................................................. 63 Rethinking cultural leadership ...................................................................................................... 64 Funding and Taxation ................................................................................................................... 65 Music offices/advisory boards ...................................................................................................... 67 Conclusion .................................................................................................................................... 70 Recommendations ......................................................................................................................... 70 Conclusion: facilitating music tourism – key challenges .................................................... 72 References ............................................................................................................................... 74 Appendix I: List of interviewees ........................................................................................... 80 Recorded interviews ...................................................................................................................... 80 Acknowledgements We would like to thank the various contributors to this project who brought their time, experience and insight to it through interviews, emails and questionnaire responses. Particular thanks to the project partners Olaf Furniss of Music Tourist and Dougal Perman of the Scottish Music Industry Association whose knowledge and contacts were invaluable to the project’s successful completion, and to David Francis of Traditional Arts and Culture Scotland for his valuable input and guidance in the project’s early stages. Finally, we are grateful to the Arts and Humanities Research Council for funding the Creative Economy Engagement Fellowship programme, which made this study possible. Dr Matthew Ord Dr Adam Behr AHRC Creative Economy Engagement Fund Lecturer in Contemporary and Popular Music – Postdoctoral Research Fellow Project Academic Lead Newcastle University Newcastle University For more information please contact: [email protected] [email protected] i List of Abbreviations AHRC Arts and Humanities Research Council MT Music Tourist MU Musicians’ Union MVT Music Venue Trust PRS Performing Rights Society STGA Scottish Tour Guides Association SMIA Scottish Music Industry Association UNESCO United Nations Educational, Scientific and Cultural Organization UNWTO United Nations World Tourism Organisation ii Executive Summary This report presents the findings of qualitative research carried out between February and September 2018 as part of an AHRC Creative Economy Engagement Fellowship at Newcastle University. The project was supported by the Scottish Music Industry Association and Music Tourist who shared their contacts and expertise, offered advice on selecting potential interviewees and assisted with the design and distribution of an online questionnaire. The principal aims of the research were: ● To identify potential beneficiaries of music tourism in Scotland ● To identify barriers to and opportunities for collaboration between the music, retail, hospitality and other tourism sectors ● To better understand the role played by the various actors involved in music tourism and the challenges facing them ● To produce a set of recommendations aimed at helping representatives of these sectors and policymakers to facilitate the development of music tourism in Scotland The resulting report is based on interviews and presents a snapshot of opinions from individuals working in the field of music tourism including promoters, hoteliers, musicians, tour guides and retailers, as well as representatives of the public sector. We hope that the following key findings and recommendations will be of value to representatives of the sectors who are engaged in developing music tourism initiatives
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