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The Political Economy of Informal Events, 2030
The Political Economy Of Informal Events, The Political 2030 Economy of Informal Events, 2030 Written and edited by James Woudhuysen AAAW_03.19_001_Cover.indd All Pages 17/05/2019 11:29 The Political Economy Of Informal Events, 2030 AAAW_03.19_002-009_Chapter Zero.indd 2 17/05/2019 11:21 Written and edited by James Woudhuysen Visiting professor, forecasting & innovation, London South Bank University Foreword by Julian Agostini, Mash Media Alan Miller, Night Time Industries Association Nick Morgan, We Are The Fair Published by Access All Areas, in association with the Night Time Industries Association and We Are The Fair Access All Areas, 2nd Floor Applemarket House, 17 Union Street, Kingston-Upon-Thames KT1 1RR Advisory team Tom Hall and Paul Colston Graphic design Sean Wyatt-Livesley, Emma Hart, Oscar Spinks, Kateryna Smirnova ISBN 2019: 978-0-9576478-7-9 Please note: Except for the Foreword, and where individuals are quoted at length, the views in this paper – and the errors – are those of the author alone. He thanks everyone who is quoted; Andy Grimsey, solicitor with Poppleston Allen, for help with the legal intricacies of licensing, and Michael Kill, CEO of the NTIA, for work on how the music festival season and particular music festivals relate to UK recorded crime, both national and local. © Copyright Mash Media. All material in this publication is copyright and remains the property of the publishers. They neither necessarily agree with the views expressed by interviewees, nor accept any responsibility for any errors of interpretation in the subject matter of this publication. No part of this publication may be copied or reproduced, stored in a retrieval system, or be transmitted in any form by any means – electronic, mechanical, photocopying, recording or otherwise – without the prior permission of the publishers. -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
No Longer Just the Ticket No Longer Just the Ticket
16 | No longer just the ticket No longer just the ticket Charged wristbands are becoming more popular The days of box offices selling physical tickets to fans queuing around the block are all but forgotten. Almost all tickets are now sold online and today’s agents are multi-service operators able to garner unprecedented insight into a festival-goer’s behaviour and interests, reports Christopher Barrett he use of social media, mobile Owned by Live Nation Entertainment, is able to sell thousands of tickets a min- platforms and radio-frequency and a sister subsidiary to multi-event ute without any issues. identification (RFID) is not only promoter Festival Republic (FR), Ticket- The company operates a full ticket revolutionising the festival cus- master UK (TM) has worked with festi- management service for Cornbury tomerT experience, but helping organis- vals including FR’s Reading (90,000) and (15,000), including access control. The ers streamline their operations, develop Leeds (80,000), Creamfields (30,000) and vast majority of its festival tickets are highly targeted marketing strategies SW4 (20,000). sold online, with nine per cent through and generate improved revenues. TM offers white-label festival platform a call centre and 14 per cent through a Festivals have long been more than Front Gate Tickets, which includes quick physical box office. a multi-day, multi-artiste music show check-out options, VIP experience up- Its collectable, glossy, colour paper – they are multi-entertainment experi- sells, group bookings, data analytics and FanTicket format is also a popular ences, brands in their own right, capa- access control. -
Jim Griffiths FIOA Noise - Premises Licence, Victoria Park
Jim Griffiths FIOA Noise - Premises Licence, Victoria Park Experience 1. I confirm that I am a company director of Vanguardia Limited, a company specialising in the field of leisure and entertainment. I have over 35 years experience as a consultant in the field of acoustics. I am a Fellow of the Institute of Acoustics, Chairman of the London Branch of the Institute and was awarded the Institutes Tyndall Medal for my contribution to entertainment acoustics. I have a wide range of experience in all technical aspects related to acoustics, noise and vibration and have project managed numerous innovative projects as well as presenting evidence at legal proceedings, public inquiries and at several House of Commons Select Committees. I have presented over 30 technical papers nationally and internationally on noise and acoustics mainly dealing with noise management from entertainment. Over the last 25 years I have had direct personal and overall management responsibility for advising local authorities, venue owners, event organisers and private individuals on the setting of noise limits; and the monitoring and management of noise impact for pop concerts at more than 1000 such events. 2. I sat on the Noise Council Working Party for the Code of Practice on Environmental Noise Control at Concerts (1995) (The Pop Code) and my research papers were used to develop the noise guidelines presented in this publication. 3. I have more recently been appointed to new working parties which has been formed to refresh the Pop Code and assess noise from other licensed premises. Instruction 4. I have been instructed by AEG Presents Limited to provide independent acoustic advice in respect of the Licence application for the All Points East events planned for Victoria Park in 2018. -
Festival Industry and Funding Models
Festival Industry and Funding Models This research report focussed on providing an insight into the music festival industry and in particular associated business models. Industry Overview UK Music estimates that 3.9 million people attended a festival in the year 20161. There are no official counts of how many music festivals are held in the UK, however they have become increasingly popular and estimates sit at well over 500 (see further sources). As there are many different forms of music festival such as single day festivals and bi-annual ones, it can be quite difficult to measure. One website tracking UK music festivals identifies there are 116 music festivals in the period of June 2018-2019 in the South West alone2. Due to the many music festivals in operation at present, one challenge that those in the industry face is market saturation. This has several potential consequences attached, primarily making it more difficult to sell tickets. Additionally, the associated costs such as hiring musicians, venues and catering also become higher as competition increases3. One of the ways the success of a music festival can be measured is through music tourism; non-local people travelling to attend a festival. Money is both injected into the festival and local economy from attendees that would otherwise not have been in the location. Music tourists contribute to the local economy both directly, through purchasing tickets and spending money at the festival, and indirectly such as through travel, accommodation and spending in the local economy. This value is distributed differently around the UK, with hubs like the South East and the South West having a greater share of music tourists than areas like the North East. -
Association of Independent Festivals Six-Year Report 2014
Association of Independent Festivals Six-Year Repor t 2014 Dr Emma Webster Live Music Exchange [email protected] Executive Summary ............................................................................................ 1 Introduction ...................................................................................................... 4 The festival ‘ecology’ ....................................................................................... 6 The Association of Independent Festivals ............................................................... 6 A brief history of festivals .................................................................................... 8 Risk factors for the festival sector and examples of cancelled festivals ...................... 11 The festival market in context ............................................................................ 12 Festivals and the state – austerity and secondary ticketing ....................................... 12 Consumer confidence ................................................................................... 13 Is PRS for Music getting tough on festival promoters? .............................................. 14 Festivals and the broader music industries .......................................................... 14 The ‘Glastonbury effect’ ............................................................................... 15 Competition in and outside of the UK ................................................................ 16 Technology – social media, RFID -
The Political Economy of Informal Events, 2030
The Political Economy of Informal Events, 2030 Written and edited by James Woudhuysen The Political Economy Of Informal Events, 2030 Written and edited by James Woudhuysen Visiting professor, forecasting & innovation, London South Bank University Foreword by Julian Agostini, Mash Media Alan Miller, Night Time Industries Association Nick Morgan, We Are The Fair Published by Access All Areas, in association with the Night Time Industries Association and We Are The Fair Access All Areas, 2nd Floor Applemarket House, 17 Union Street, Kingston-Upon-Thames KT1 1RR Advisory team Tom Hall and Paul Colston Graphic design Sean Wyatt-Livesley, Emma Hart, Oscar Spinks, Kateryna Smirnova ISBN 2019: 978-0-9576478-7-9 Please note: Except for the Foreword, and where individuals are quoted at length, the views in this paper – and the errors – are those of the author alone. He thanks everyone who is quoted; Andy Grimsey, solicitor with Poppleston Allen, for help with the legal intricacies of licensing, and Michael Kill, CEO of the NTIA, for work on how the music festival season and particular music festivals relate to UK recorded crime, both national and local. © Copyright Mash Media. All material in this publication is copyright and remains the property of the publishers. They neither necessarily agree with the views expressed by interviewees, nor accept any responsibility for any errors of interpretation in the subject matter of this publication. No part of this publication may be copied or reproduced, stored in a retrieval system, or be transmitted in any form by any means – electronic, mechanical, photocopying, recording or otherwise – without the prior permission of the publishers. -
January-February-March-April-May-June-5989F3.Pdf
JANUARY FEBRUARY MARCH APRIL MAY JUNE New Year’s Day Jan 1st World PDC Darts Championship Final Jan 1st Alexandra Palace, London, UK Christy Moore Jan 2nd - 15th Vicar Street, Dublin PUBLIC HOLIDAY Palm Springs International Film Festival Awards Jan 3rd California, USA Tommy Tiernan Jan 4th - 19th Vicar Street, Dublin Les Misérables Jan 4th - 12th Bord Gáis Energy Theatre, Dublin Guinness Pro 14: Connacht V Munster Jan 5th Sportsground, Galway Guinness Pro 14: Leinster V Ulster Jan 5th RDS Arena, Dublin Munster Wedding Expo Jan 5th Páirc Uí Chaoimh, Cork BANK HOLIDAY BANK HOLIDAY 76th Annual Golden Globe Awards Jan 6th California, USA Senior Irish Masters Snooker Championship Final Jan 6th Goffs, Kildare Salon Owners Summit Jan 7th The Convention Centre, Dublin BT Young Scientist & Technology Exhibition Jan 9th - 12th RDS, Dublin Pendulum Summit Jan 9th - 10th The Convention Centre, Dublin The 1975 Jan 9th SSE Arena, Belfast The 1975 Jan 10th Three Arena, Dublin Leadership and Business Management in an Jan 11th IAPI Evolved Agency Landscape 24th Annual Critics’ Choice Awards Jan 13th California, USA Australian Open 2019 Jan 14th - 27th Melbourne, Australia The Marketing Institute of Ireland, Marketing Jan 15th The Marketing Institute, South County Fundamentals Series: Aligning Brand and Dublin Business Park, Dublin PUBLIC HOLIDAY BANK HOLIDAY Commercial Goals Macbeth Jan 15th - 19th Bord Gáis Energy Theatre, Dublin WYWO - While You Were Out Jan 15th IAPI Achieving Your Best Year Yet Jan 15th IAPI Wine and Tapas Tasting Trail Jan 15th -
The Lived Experience of the Popular Music Festival-Goer
THE LIVED EXPERIENCE OF THE POPULAR MUSIC FESTIVAL-GOER CAROLINE JACKSON A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy JULY 2014 BOURNEMOUTH UNIVERSITY Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any of the material contained in, or derived from, this thesis. ABSTRACT The lived experience of the popular music festival-goer Caroline Jackson This study provides an in-depth understanding of the lived experience of people that attended a popular music festival in the UK. The research is grounded in the philosophical roots of both experience and descriptive phenomenology. Phenomenological research is about “going back to people’s specific experiences and letting the concepts come from there” (Todres and Holloway 2010, p183). The research used Giorgi’s descriptive phenomenological method (1985, 2009). Giorgi’s method is based on the early twentieth century philosopher Husserl’s scientific approach to developing phenomenology. Giorgi (2009) offers a robust process for analysing situated experiences that gives a clear insight into a phenomenon. Ten interviews with festival-goers who went to the Isle of Wight Festival in June 2011 were conducted. Using Giorgi’s method, the participants’ words were transformed into meaning units, which then underwent a process of descriptive analysis. This involved scientific phenomenological reduction using free imaginative variation. The constituent parts of the experience were identified and used to set out, what Husserl (1982 [1925]) defines as the morphological essence of the experience. -
Q1 2020 Q1 2020 Lewis Lewis Capaldi Mabel Dav E Celeste Billie Eilish
Q1 2020 Q1 2020 CONGRATULATIONS ON YOUR BRIT YOUR ON CONGRATULATIONS FROM EVERYONE AT UNIVERSAL MUSIC UNIVERSAL AT EVERYONE FROM s SUCCESS LEWIS LEWIS CAPALDI MABEL DAV E CELESTE BILLIE EILISH 11 WELCOME EDITOR’S LETTER In this issue... The popular modern maxim to ‘speak my truth’ Tim Ingham long it will take, or how much ownership they tacitly yet proudly argues there is always more are giving up. Then, they compete for attention 10 YouTube Music than one retelling of any event – bending every and resources that are already spread thin. It’s a Dan Chalmers & Lyor Cohen occurrence into a fiction-splashed narrative fight for creative and financial freedom.” onto which our own subjective viewpoint can, This attack on traditional label advances is the and should, be impressed. It adds to a collective latest broadside to be thrown on a voluminous 22 Kyn Entertainment erosion of the idea of the gospel – whether pile. Elsewhere, rapper Mase recently castigated Sonny Takhar religious, journalistic or anecdotal – furthering Puff Daddy on Instagram regarding a historical a rabid culture of self-trust. It is malleable, and publishing deal between the pair. Mase said that therefore open to manipulation, ego and error. Puff “purposely starved your artist”, adding: “For 28 The BRIT Awards It is the definition of Trump’s America. example, u still got my publishing from 24 years How did we end up in this situation, where ago in which u gave me $20k.” one person’s reality – no matter how warped by What is lost in both Rabkin Lewis and Mase’s self-serving myopia – has become more valued salvos here is a rounded view – the rapidly- 38 Nick Burgess & Mark Mitchell Parlophone than art, and more trusted than evidence? vanishing gift of being taught all sides of the I mean, it can’t all be down to TikTok. -
£2.50 Every Monday
£2.50 EVERY MONDAY NO. 1305 APRIL30-MAY62018 A HAND UP NOT A HANDOUT WIN! PAIR OF ORANGE™ CONTENTS HEADPHONES APRIL 30-MAY 6 2018 / NO. 1305 O EDITION TURNTP4 TO PAGE 444 Hello, my name is Paul. is week’s Big Issue is our Festival Special. It’s been a long time since I went to a festival and I’m not that into musictobe honest. I am pleased to see festivals goinggreen though. e environment is importanttomesoit’s good to see them making an effort. Read more on page12oftheguide. I’ve moved aroundabitso Gwenno’s piece about recording music in Cornish on page25 is interesting.Ilived in Truro for a few months working in the fields but never learned the language – it’s harder than Welsh. I’vehadatasteoffamemyself after I started using acardreader onmypypitch. Read more of m y story on page 46. INSIDE... 15 PAUSE Get up with the lark for the spring dawn chorus 16 LETTER TO MY YOUNGER SELF Pamela Des Barres on the joy of Jagger and the pain of Page 36 DEREK SMALLS Spinal Tap’s ageing bassist gets somewhere close to wisdom Vendor photo: Richard Tatham photo: Richard Vendor Cover illustration: Nicholas Darby WE BELIEVE in a hand up, not a handout... WE BELIEVE poverty is indiscriminate… WE BELIEVE in prevention… Which is why our sellers BUY every copy of the Which is why we provide ANYONE whose life is Which is why Big Issue Invest ofers magazine for £1.25 and sell it for £2.50. blighted by poverty with the opportunity to backing and investments to social enterprises, earn a LEGITIMATE income. -
Concerti EUROPA 2019
Concerti EUROPA 2019 www.parcoarenacampovolo.it Welcome to ARENA CAMPOVOLO MUSIC www.musicvalley.org Segui le info : www.mediopadananews.it “Cultura Imprenditoriale Italiana” . Quando ! FIB Benicàssim Concerti in Castellón de la Plana, Spagna https://www.wegow.com/it/concerti-in/espana/castellon-de-la-plana/ WWW.ARENACAMPOVOLOMUSIC.ORG WWW.ARENACAMPOVOLO.ORG WWW.ARENAEVENTIS.COM e-mail: [email protected] [email protected] Phone/Tel:+39 351 8837520 Concerti EUROPA 2019 www.parcoarenacampovolo.it Quando ! Snowbombing 2019 Mayrhofen Auatria https://www.festicket.com/it/festivals/snowbombing/2019/ Quando ! Secret Solstice 2019 Reykjavik Islanda https://www.festicket.com/it/festivals/secret-solstice/2019/ Quando ! BOOM Belgio Tomorrowland 2019 https://www.festicket.com/it/festivals/tomorrowland/2019/ WWW.ARENACAMPOVOLOMUSIC.ORG WWW.ARENACAMPOVOLO.ORG WWW.ARENAEVENTIS.COM e-mail: [email protected] [email protected] Phone/Tel:+39 351 8837520 Concerti EUROPA 2019 www.parcoarenacampovolo.it Quando ! Wireless Festival 2019 Londra Regno Unito https://www.festicket.com/it/festivals/wireless-festival/2019/ Quando ! Awakenings Festival 2019 Spaarnwoude, Paesi Bassi https://www.festicket.com/it/festivals/awakenings-festival/2019/ Quando ! TRNSMT Festival 2019 Glasgow, Regno Unito https://www.festicket.com/it/festivals/trnsmt-festival/2019/ WWW.ARENACAMPOVOLOMUSIC.ORG WWW.ARENACAMPOVOLO.ORG WWW.ARENAEVENTIS.COM e-mail: [email protected] [email protected] Phone/Tel:+39 351 8837520 Concerti EUROPA 2019 www.parcoarenacampovolo.it