Advertisement

Music Cities pp 167-188 | Cite as

The UK Live Music Census: The Value of Researching Live Music in Glasgow, Newcastle, Oxford, and Beyond

  • Adam BehrEmail author
  • Matt Brennan
  • Martin Cloonan
Chapter
  • 26 Downloads
Part of the New Directions in Cultural Policy Research book series (NDCPR)

Abstract

This chapter examines the process, and potential outcomes, of researching live music in cities through the means of a ‘live music census’, drawing on the UK Live Music Census, the first attempt to conduct such an exercise across multiple cities (Glasgow, Newcastle and Oxford). It begins with a discussion of the broader context of the research—the growth of ‘music cities’ as both a concept and as a tool for cultural policy and regenerative efforts by city authorities themselves. The research activity itself associated with this is then outlined, including previous census projects, leading into selected key findings from the case-study cities of the UK Live Music Census, with an emphasis on points of comparison, including divergence and common ground, across those cities. The chapter concludes with a consideration of the potential for live music censuses to inform policymaking, at national and local levels. It notes that research of this kind can encourage local authorities—and national government—to look across their portfolios of activity and take strategic stock of the situation for live music, including those participants in a live music ecology—the city beyond the official narrative of a ‘music city’—who may otherwise be difficult to identify.

References

  1. Anderton, C. (2019). Music Festivals in the UK: Beyond the Carnivalesque. Abingdon and New York: Routledge.Google Scholar
  2. Bailey, C., Miles, S., & Stark, P. (2004). Culture-Led Urban Regeneration and the Revitalisation of Identities in Newcastle, Gateshead and the North East of England. International Journal of Cultural Policy, 10(1), 47–65.  https://doi.org/10.1080/1028663042000212328.Google Scholar
  3. Baker, A.-J. (2017, March 1–12). Algorithms to Assess Music Cities: Case Study—Melbourne as a Music Capital. SAGE Open.  https://doi.org/10.1177/2158244017691801.
  4. Ballico, C., & Carter, D. (2018). A State of Constant Prodding: Live Music, Precarity and Regulation. Cultural Trends, 27(3), 203–217.  https://doi.org/10.1080/09548963.2018.1474007.Google Scholar
  5. Behr, A., Brennan, M., & Cloonan, M. (2014). The Cultural Value of Live Music from the Pub to the Stadium: Getting Beyond the Numbers. University of Edinburgh/Arts and Humanities Research Council.Google Scholar
  6. Behr, A., Brennan, M., & Cloonan, M. (2016a). Cultural Value and Cultural Policy: Some Evidence from the World of Live Music. International Journal of Cultural Policy, 22(3), 40–418.  https://doi.org/10.1080/10286632.2014.987668.Google Scholar
  7. Behr, A., Brennan, M., Cloonan, M., Frith, S., & Webster, E. (2016b). Live Concert Performance: An Ecological Approach. Rock Music Studies, 3(1), 5–23.  https://doi.org/10.1080/19401159.2015.1125633.Google Scholar
  8. Behr, A., Brennan, M., & Webster, E. (2015). Edinburgh Live Music Census 2015: Pilot Study. Edinburgh: Live Music Exchange/University of Edinburgh.Google Scholar
  9. Behr, A., Webster, E., Brennan, M., Cloonan, M., & Ansell, J. (2019). Making Live Music Count: The UK Live Music Census. Popular Music and Society, e-pub before print: 1–22:  https://doi.org/10.1080/03007766.2019.1627658
  10. Belfiore, E. (2012). ‘Defensive Instrumentalism’ and the Legacy of New Labour’s Cultural Policies. Cultural Trends, 21(2), 103–111.  https://doi.org/10.1080/09548963.2012.674750.Google Scholar
  11. Bucks New University/UK Music. (2016). Bristol Live Music Census. London: UK Music. Retrieved from www.ukmusic.org/assets/general/Bristol_Live_Music_Report.pdf.Google Scholar
  12. Caulker, T. (2018). Profile Interview for the UK Live Music Census. Retrieved from http://uklivemusiccensus.org/thomas-caulker-proprietor-world-headquarters-club-newcastle-upon-tyne/.
  13. Cohen, S. (2007). Decline, Renewal and the City in Popular Music Culture: Beyond the Beatles. Aldershot: Ashgate.Google Scholar
  14. Cohen, S. (2013). Musical Memory, Heritage and Local Identity: Remembering the Popular Music Past in a European Capital of Culture. International Journal of Cultural Policy, 19(5), 576–594.  https://doi.org/10.1080/10286632.2012.676641.Google Scholar
  15. Crossick, G., & Kaszynska, P. (2016). Understanding the Value of Arts and Culture: The AHRC Cultural Value Project. Swindon: Arts and Humanities Research Council. Retrieved from http://www.ahrc.ac.uk/documents/publications/cultural-value-project-final-report/.Google Scholar
  16. Cusack, C. (2018). Profile Interview for the UK Live Music Census. Retrieved from http://uklivemusiccensus.org/chris-cusack-eventsvenue-manager-bloc-glasgow/.
  17. Digital, Culture, Media and Sport Committee. (2019). Live Music: Ninth Report of Session 2017–19. London: House of Commons.Google Scholar
  18. Eales, A. (2016). ‘One bourbon, one scotch, one beer’: Alcohol Sponsorship at Glasgow Jazz Festival, 1987–2001. Popular Music, 35(2), 231–244.  https://doi.org/10.1017/S0261143016000064.Google Scholar
  19. Flew, T. (2008). Music, Cities, and Cultural and Creative Industries Policy. In G. Bloustien, M. Peters, & S. Luckman (Eds.), Sonic Synergies: Music, Technology, Community, Identity (pp. 7–16). Aldershot: Ashgate.Google Scholar
  20. Frith, S. (1993). Popular Music and the Local State. In T. Bennett, S. Frith, L. Grossberg, J. Shepherd, & G. Turner (Eds.), Rock and Popular Music: Politics, Policies, Institutions (pp. 15–24). London: Routledge.Google Scholar
  21. Frith, S. (2013). The Social Value of Music (in the Context of European Regeneration Policy). Live Music Exchange [blog]. Retrieved from http://livemusicexchange.org/blog/the-social-value-of-music-in-the-context-of-european-regeneration-policy-simon-frith/.
  22. Frith, S., Brennan, M., Cloonan, M., & Webster, E. (2013). The History of Live Music in Britain, Volume 1: 1950–1967, from Dance Hall to the 100 Club. Farnham: Ashgate.Google Scholar
  23. Getz, D., & Page, S. J. (2016). Progress and Prospects for Event Tourism Research. Tourism Management, 52, 593–631.  https://doi.org/10.1016/j.tourman.2015.03.007.
  24. Homan, S. (2016). SLAM: The Music City and Cultural Activism. Law, Social Justice & Global Development, 1(1), 1–12.Google Scholar
  25. Larkin, V. (2018). Profile Interview for the UK Live Music Census. Retrieved from http://uklivemusiccensus.org/victoria-larkin-deputy-director-oxford-contemporary-music/.
  26. Lashua, B., Cohen, S., & Schofield, J. (2010). Popular Music, Mapping, and the Characterization of Liverpool. Popular Music History, 4(2), 126–144.  https://doi.org/10.1558/pomh.v4i2.126.Google Scholar
  27. McCallion, R. (2018). Profile Interview for the UK Live Music Census. Retrieved from http://uklivemusiccensus.org/richard-mccallion-bar-manager-the-american-bar-belfast/
  28. Mould, O., Vorley, T., & Liu, K. (2016). Invisible Creativity? Highlighting the Hidden Impact of Freelancing in London’s Creative Industries. In A. Watson & C. Taylor (Eds.), Rethinking Creative Cities Policy Invisible Agents and Hidden Protagonists (pp. 8–27). London: Routledge.Google Scholar
  29. Music Victoria/City of Melbourne. (2012). Victorian Live Music Census 2012. Melbourne: Music Victoria/City of Melbourne.Google Scholar
  30. Oakley, K. (2004). Not So Cool Britannia: The Role of the Creative Industries in Economic Development. International Journal of Cultural Studies, 7(1), 67–77.Google Scholar
  31. Pratt, A. (2010). Creative Cities: Tensions Within and Between Social, Cultural and Economic Development: A Critical Reading of the UK Experience. City, Culture, Society, 1(1), 13–20.CrossRefGoogle Scholar
  32. Rixson, Chelsea. (2018). Profile Interview for the UK Live Music Census. Retrieved from http://uklivemusiccensus.org/chelsea-rixson-managing-director-brighton-music-office/.
  33. Rosi, M. (2014). Branding or Sharing?: The Dialectics of Labeling and Cooperation in the UNESCO Creative Cities Network. City, Culture, Society, 5(2), 107–110.  https://doi.org/10.1016/j.ccs.2014.05.002.Google Scholar
  34. Shapiro, S. (2019). The Music Cities Manual: Your Comprehensive Guide to Building Music Cities. London: Sound Diplomacy.Google Scholar
  35. Stephenson, I. (2018). Profile Interview for the UK Live Music Census. Retrieved from http://uklivemusiccensus.org/ian-stephenson-musician-newcastle-gateshead/.
  36. Straw, W. (1991). Systems of Articulation, Logics of Change: Communities and Scenes in Popular Music. Cultural Studies, 5(3), 368–388.  https://doi.org/10.1080/09502389100490311.Google Scholar
  37. Street, J. (2011). The Popular, the Diverse and the Excellent: Political Values and UK Cultural Policy. International Journal of Cultural Policy, 17(4), 380–393.  https://doi.org/10.1080/10286632.2010.546839.Google Scholar
  38. Terrill, A., Hogarth, D., Clement, A., & Francis, R. (2015). The Mastering of Music City: Key Elements, Effective Strategies and Why It’s Worth Pursuing. Toronto: Music Canada/IFPI/Midem.Google Scholar
  39. UNESCO. (2019). Creative Cities: Call for Applications 2019: Application Guide. Retrieved from https://en.unesco.org/creative-cities/sites/creative-cities/files/2019-uccn-call_application-guide_en_1.pdf.
  40. Webster, E., Brennan, M., Behr, A., Cloonan, M., & Ansell, J. (2018). Valuing Live Music: The UK Live Music Census 2017 Report. Live Music Exchange/University of Edinburgh/Newcastle University/University of Turku. Retrieved from http://uklivemusiccensus.org/#report.
  41. Williamson, J., Cloonan, M., & Frith, S. (2011). Having an Impact? Academics, the Music Industries and the Problem of Knowledge. International Journal of Cultural Policy, 17(5), 459–474.  https://doi.org/10.1080/10286632.2010.550682.Google Scholar

Copyright information

© The Author(s) 2020

Authors and Affiliations

  1. 1.International Centre for Music Studies, School of Arts and CulturesNewcastle UniversityNewcastle upon TyneUK
  2. 2.School of Culture and Creative ArtsUniversity of GlasgowGlasgowUK
  3. 3.Turku Institute for Advanced StudiesUniversity of TurkuTurkuFinland

Personalised recommendations