Constructing a rough account of British concert promotion history

Brennan, Matt

doi:10.5429/2225-0301.2009.01

Cited by 5 publications

(7 citation statements)

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“…Commercial promoters began to lose faith in large-scale music festivals in the early 1970s, partly due to cases such as the Isle of Wight Festival, but also due to losses made because of poor weather or inefficient/corrupt security (Sandford, 1974;Clarke, 1982). The early 1970s also saw a rapid increase in the commercial success of major rock bands for whom a stadium and arena circuit began to develop both nationally and internationally (Laing, 2004;Brennan, 2010 (Brennan, 2010).…”

Section: Introductionmentioning

confidence: 99%

Music festival sponsorship: between commerce and carnival

Anderton

2011

Arts Marketing: An International Journal

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Purpose -This paper aims to examine the cultural heritage of outdoor rock and pop music festivals in Britain since the mid-1960s, and relates it to developments in, and critiques of, corporate sponsorship in the contemporary music festival sector. Design/methodology/approach -The paper uses extant research materials to construct an account of British music festival history since the mid-1960s. It then draws upon Bakhtin's concept of the carnivalesque and the literature on sponsorship, experiential marketing and branding, in order to understand critiques of corporate sponsorship and the changing nature of the sector. Findings -Outdoor rock and pop music festivals were dominated by the ideologies of a "countercultural carnivalesque" from the late 1960s until the mid-1990s. In the 1990s, changes in legislation began a process of professionalization, corporatization, and a reliance on brand sponsorships. Two broad trajectories are identified within the contemporary sector: one is strongly rooted in the heritage of the countercultural carnivalesque, while the other is more overtly commercial. Research limitations/implications -It is argued that experiential marketing and brand activation are key methods for achieving a balance between the competing aspects of commerce and carnival. Hence, festival organisers and sponsors need to understand the history of the sector and of their own events and attendees in order to use corporate sponsorship more effectively. Originality/value -This paper adds historical and theoretical depth to the debate between commerce and carnival within the music festival sector, and makes connections between cultural theory and the literature on sponsorship and branding.

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Section: Introductionmentioning

confidence: 99%

Music festival sponsorship: between commerce and carnival

Anderton

2011

Arts Marketing: An International Journal

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“…Music industries have moved on from an era dominated by the record industry to one dominated by a few live music corporations like Live Nation or Eventim (Williamson & Cloonan 2007;Wikström 2013;Budnick & Baron 2011). In these developments since the 1990s (Brennan 2010), Fabian Holt (2014) observes the emergence of a new live music culture featuring an increasing number of larger and more commercial clubs that create a market for headliner artists in rationally optimized venue facilities.…”

Section: Venues As Multi-layered Urban Spaces In Changing Environmentsmentioning

confidence: 99%

Music venues in transition: States of autonomy, dependence and subcultural institutionalization

Kuchar¹

2020

Todas as Artes

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: Taking into account changing spatial structures of local music scenes and processes of music production, urban regeneration, and the commercialization of live music during the last decades, this article examines how ongoing transformations of socio-spatial environments exert influence on originally do-it-yourself music venues as a specific kind of urban music space. Venues are understood as individual actors that develop in relation to their initial spatial and cultural strategies. Therefore, the status of these venues reaches from traditionalist but highly dependent to paradoxical forms of “subcultural institutionalization”. Based on empirical data from three case studies in Hamburg, Germany, fieldwork shows that DIY-driven clubs increasingly become hijacked or taken-over spaces that apply different strategies in order to preserve their idea(l)s of self-governed and collective cultural work.

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“…However, the arena rock scene with dramatic live performances and special lighting effects attracted large audiences in stadiums worldwide. All those giant unique shows increased ticket prices and constructed international rock stars (Brennan, 2010;Laing, 2004). After a while, by the late seventies and the early eighties, the punk scene emerged through live performances usually in small clubs and pubs.…”

Section: Rock Festivalsmentioning

confidence: 99%

“…However, apart the convivial and carnivalesque gathering of the hippy community in the caves of Matala in Crete, that did not carry out any organized concerts but supported the sixties countercultural heritage, no great international event such as a big concert or festival took place until the late sixties. Occasionally, Dutch or German bands were presented in the clubs of Athens imitating the famous British and American bands 10 . Eventually, on the seventeenth of April in 1967, the first great concert took place in Greece by the Rolling Stones and many other Greek bands including the Idols, Dakis, M.G.S., Loubogg, Tassos Papastamatis, Guidone, and We Five.…”

Section: Rock Festivals In Greecementioning

confidence: 99%

The Evolution of Rock Festivals in Greece

Tsangaris

2019

ESJ

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There is a steady growth of music festivals that has continuously occurred within the last thirty years, and this has changed the structure of the international cultural market. Nowadays, selling recorded products does not make large profits and music festivals became the vital supporters of the music industry. This paper focuses on presenting how the growth of rock festivals introduced to Greek society a new kind of entertainment quite different from the traditional festivities of the region and how this practice supports tourism. Indeed, some great festivals are created with the international market in mind and are based on specialized tourism management practices. This study, after considering some aspects concerning the interaction between global and local music culture, provides a brief historical framework of the rock festivals. It constitutes basically a general review presenting the evolution of this imported type of entertainment in Greece, and it reveals possible commonalities between the traditional and the new forms of festivities. Although there are significant differences between Panygiri which is the old traditional Greek festivity and the rock festival, it seems that some fundamental elements in those social phenomena such as attracting tourism and uniting people always remain the same.

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Constructing a rough account of British concert promotion history

Cited by 5 publications

References 0 publications

Music festival sponsorship: between commerce and carnival

Music festival sponsorship: between commerce and carnival

Music venues in transition: States of autonomy, dependence and subcultural institutionalization

The Evolution of Rock Festivals in Greece

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