Newsletter #100 July: We Came, We Debated, We Challenged...

09 Jul 2013

We’d like to use this, our 100th editorial, to briefly cast an eye over some of the issues that MusicTank tackled in its first 10 years. Several of our think tanks have been highly topical, with points being made by our speakers that challenged commonly held beliefs.

Martyn Ware - The Future Of Music As Immersive Art And Entertainment

09 Jul 2013

Creativity in music and the arts is what makes our lives worth living…immersive public experiences, daringly and passionately curated, will make our lives more liveable in a more enjoyable future.

Remi Harris: Gathering A Crowd – Running A Music Crowdfunding Campaign

02 Jul 2013

Crowdfunding has become incredibly high-profile in the last year. Amanda Palmer became one the most well-known names associated with it, when she raised over a million dollars from donors using the Kickstarter platform in order to produce her album, art book and tour. Writers, composers and authors can benefit from these platforms too...

10 @ 10: Lord Chris Smith - Music Is Our Ambassador

12 Apr 2013

At serious risk of showing my age, I recall that the first record I ever bought was “She Loves You”, back in 1963. In the intervening fifty years, the world of music has changed beyond recognition. One thing remains, however, compellingly true – that Britain plays a hugely significant global role in the making and playing and enjoying of music...

Newsletter #97 April: #NewMediaVsTradMedia

09 Apr 2013

Whether it’s the industry-baiting ArtistsVsArtists campaign, spearheaded by US “tropical grit hop” duo Ghost Beach or the primetime-driven success of Ant and Dec, aka PJ & Duncan, rhumbling to number one on the back of their Saturday Night Takeaway performance, debates around the potency of ‘traditional’ and ‘new’ media marketing techniques have found a renewed vigour over recent weeks...

10 @ 10: What A 10 Years It's Been..!

12 Mar 2013

It’s been 10 years since MusicTank started. That might not seem to be all that long on the face of it, however when you consider that this tumultuous period has seen the arrival of Apple’s iTunes Store and creation of a licensed digital music market; EMI being sold (twice); Virgin, Our Price and Woolworths disappear from the High Street; HMV enter administration; Live Nation and AEG dominate live music; Top of the Pops pulled from...

Sofia Hagberg, End of the Road Festival: Headliners – Who Needs Them?

28 Feb 2013

Simon and I started the End of the Road Festival from scratch in 2006. Neither of us had any background in music, but we had a lot of passion, enthusiasm and belief in what we were creating and for our first year we managed to confirm a few big names. Looking back, it's obvious to us that...

Newsletter #94 January: 2013 - I Hope I Chart Before I Go Cold

15 Jan 2013

Somehow it seems entirely appropriate that the latest Music Week’s front cover is dominated by a wrap-around advertorial for Fleetwood Mac’s Rumours, an album released 35 years ago. So striking is the odd-but-iconic image of Stevie Nicks and Mick Fleetwood as Blackadder, that you’re immediately drawn to the magazine’s top corner to check the date...

Caitlin Graham, Which? The OFT Should Re-Examine Ticketing

15 Jan 2013

December’s MusicTank panel debate offered a unique opportunity to get various stakeholders into a room to discuss the challenge of getting primary tickets back into the hands of fans. The ticketing market, in its current form, is not working well for consumers...

Shane Mansfield: The Future Of Ticketing Is In Your Hands

09 Jan 2013

The ticketing industry, alongside the music industry in general, is in constant flux. From the days of ticket lists on club doors, to the advent of digital tickets encased in mobile phones, innovation and creativity is always on the move. Paradoxically, despite this innovation, it is still common to see both the old entrance lists and more modern methods in use across a whole spectrum of events.

Rebalancing The Ticketing Market: Sharon Hodgson, MP

19 Dec 2012

There are many points on which I would agree with the contribution to the secondary ticketing debate from StubHub's Navin Kekane, particularly on the need for greater transparency of primary allocations – letting fans know how many tickets are available on the onsale date, and how many are channelled elsewhere.

Face Value - The Secondary Market Conundrum: Navin Kekane, StubHub

11 Dec 2012

This week’s debate ‘Ticket To Ride: Getting Primary Tickets Back Into The Hands Of Fans’ at Music Tank made it clear there is still much we can do together to identify and address the true issues within the live music industry. For StubHub, as a technology company dedicated to providing a great fan experience, there are clear opportunities to work with willing partners to progress this...

Ticketing: A Statement From Live Nation's COO Paul Latham

04 Dec 2012

Promoters have argued for several years that secondary ticketing needs legislation. The rampant proliferation of the secondary market has created a parasitic business for profiteers who have no investment in the music industry. This creates a huge problem for those who have long-term interests in the financial stability of the business...

Newsletter #93 November: 2012 - Ticketing’s Annus Horribilis?

27 Nov 2012

The issues around ticketing are among 2012’s most contentious. This, of course, was mainly due to an edition of Channel 4’s Dispatches that brought to wider public attention what many working in the music industry knew and feared: that the primary and secondary markets for major live events are becoming inherently dysfunctional, and true music fans were being royally ripped off.

#92 Newsletter Editorial: Can Fans Get No Satisfaction?

24 Oct 2012

Revelations broadcast by Channel 4’s Dispatches back in February 2012 have failed to dent public confidence in the online secondary market although technological innovation will continue to help the primary (and secondary) market to operate more effectively - allowing artists to communicate directly with their audience and ensure, at least to some degree, that tickets end up in the hands of genuine fans.

Response From UK Music And The Musicians’ Union

10 Oct 2012

We want to thank Andy Inglis for his comments on the Music Tank blog around the Live Music Act. He articulated valid points which are central to the thinking around the Act; we all must consider its implementation.

Andy Inglis - Wanted: Nine Million, Affluent Gig-Goers

03 Oct 2012

Just the other day The Live Music Act 2012 became law in England and Wales, which ushered in the deregulation of live performance in rooms of no more than 200 people capacity. I’ve followed its progress for some time, attended debates, and been invited to give my perspective on it...

John King - Live Music Act Guidance: The Devil In The Detail

26 Sep 2012

The Licensing Act 2003 created three categories of music: live music, recorded music, and entertainment similar to live and recorded music. The Act itself offers little explanation of the first two categories, and no hint of what could be included in the last, which has led to local authorities enforcing differing interpretations. This matters because their purpose is surely to promote the objectives of the Licensing Act, by guiding the accurate targeting of licence conditions.

Keith Harris: Please, Sir, Can I Have Some More?

12 Jul 2012

The more I hear about what is going on with music at the Olympics, the more the words “snouts” and “troughs” come to mind. I know that the Olympic ideal is more about the taking part than the winning, but very few participants go in knowing that the odds are rigged for them to lose every time...

#90 Newsletter Editorial: GigTickets.Com

12 Jul 2012

Some of the problems faced by the live business, such as ticket fraud, could broadly be considered black and white issues, whereas secondary ticketing is fifty shades of grey (ba-boom)...With the Association of Independent Festivals soon to announce its ongoing efforts toward fairer ticketing, we wonder whether black and white or grey, the ticketing issues faced by the live music business, might yet get solved in the foreseeable future.

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