Investigations are being conducted to figure out what led to the death of eight people during a crowd surge at Travis Scott’s show.
A Liverpool busker in July 2020.
Shutterstock/Mark D Bailey
Performances could return sooner than planned if cities are ready to adapt.
Urban planning and cultural policies often neglect electronic dance music. Now the pandemic is forcing the EDM world to come up with new strategies to survive.
Drummer Jason Moser records a live-streamed performance in a South African theatre during lockdown.
Alet Pretorius/Gallo Images via Getty Images
The plight of live music mapped in the new survey should concern anyone looking to the return of the country’s diverse live music scene.
Live music venues must be helped to survive the COVID-19 era.
The Rolling Stones playing at The One World Together concert. The group have released new music that responds to the pandemic.
Music lovers and creator have devised new ways to create, experience and fund music.
Closed for the duration: the Royal Opera House, London.
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Will a coronavirus lockdown prompt a permanent change in the way we experience live performance?
Fortitude Valley is unique in Australia for its concentration of live music venues, like The Valley Drive In, in one small neighbourhood.
The Valley Drive In/Facebook
The good news is that the growth of live music continued under Queensland’s liquor licensing reforms. The bad news is that venues rely on late-night alcohol sales to cover costs.
Hendrix’s version of the National Anthem combined reverence and revolution.
Before an exhausted crowd, Hendrix fused protest and horror with patriotism and optimism.
Festivals can offer great exposure for smaller acts, but the competition for slots is fierce.
Live performances account for more than 40 percent of their income, while profits from streaming and record sales amount to only 5 percent of their earnings.
At some point, jazz went from the music of youthful rebellion to that of the cultured elite.
Jazz used to be experienced on a dance floor. But over time, it became something to dissect and analyze.
Screenshot from Distant Sky (2018).
The film of Cave’s first tour since the death of his son is powerful and evocative.
Music festivals tend to be geared toward young audiences, and may constitute the site of sexual harassment and assault against younger women.
Sexual harassment and assault are common experiences in general: there is no reason to assume this is any different at music festivals.
Event promoters are underpricing and undersupplying tickets.
Ticket scalpers thrive because tickets are underpriced and undersupplied.
Nearly three-quarters of Australians go to live art events, such as Dark Mofo in Hobart.
New survey from the Australia Council shows pretty much all Australians engage with the arts, and 8-in-10 do so online. However more people are ambivalent about public arts funding, and more people think the arts are too expensive.
Melbourne’s Flinders Street station is transformed into a stage for the 2013 White Night.
Melbourne may be the self-proclaimed music capital of Australia, but industry data suggests Sydney may have the upper hand. Meanwhile the UN recognises Adelaide as the country’s only city of music.
Bananarama // PA/PA Archive/PA Images
We need to look beyond the music industry to understand the rise of the comeback.
People watch Father John Misty perform at the 2015 Coachella Valley Music and Arts Festival in Indio, California.
Music festivals have been a boon to the music industry, but now we’re starting to witness some pitfalls of commercial success: consolidation and creeping conformity.
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Grassroots venues are run on tight margins, and have been under pressure for some time from external factors such as rising costs and gentrification.
Real or Fake?
John Stillwell/PA Archive
ABBA are reportedly planning a ‘virtual and live experience’. What might this actually entail?