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Communication Officer

Interview Folken (NO) – Collaborative Manifesto

Nov2

Folken is a concert venue and a students’ house in Stavanger, Norway. In 2013, the venue experienced a drop in visits and revenue as well as an overall bad reputation from their neighbours and the students of Stavanger. To counter this, they decided to research exactly what people thought of...

French Music Venues – Facts & Figures 2018 (publication 2019)

Oct15

Analyzing the popular music sector is one of FEDELIMA’s (Fédération des Lieux de Musiques Actuelles – Federation of Popular Music Venues) main tasks. Its motor and founding principle of action is a methodology we have named “Shared and Participatory Survey” (SPS). The SPS method is a philosophy of action...

Dutch Music Venues & Festivals – Facts & Figures 2019

Oct15

This publication provides insight into the Facts & Figures in the Netherlands for the year 2019 of 53 of the 59 music venues, and of all 52 festivals, that are members of the VNPF in October 2020. The year 2019 was a record year for the Dutch music venues...

LSE Podcast #14 – October 2020

Oct12

Every month, the Live Style Europe radio show brings you to the backstage of the live music sector to better understand how it works, listen to the ones who work and fight for great music, and discuss the main challenges they may face. In this episode you will learn more about Live DMA’s activities:...

INVESTEU – ENSURING SUPPORT FOR CULTURAL AND CREATIVE BUSINESSES

Oct5

Today, 26 organisations from across Europe’s cultural and creative sectors wrote to European Commissioners Thierry Breton (Internal Market) and Paolo Gentiloni (Economy) regarding the EU’s flagship investment programme InvestEU. The programme is facing severe cuts which could have a dramatic impact on the ability of cultural and creative businesses to access much needed...

“It’s really important for us to be at the forefront on the sustainability and inclusion questions, to inspire others and help with all these things. If we don’t have a sustainable future, we may not have a future at all.”

Hilma Kekkonen, Svensk Live - (Sweden )

“It’s all about sharing and cooperation!”

Boris Colin, FEDELIMA - (France )

“We need organisations like Live DMA to support our activities. During COVID, it was important to have Live DMA meetings so that we could learn what was going on in the other countries, and that was very helpful when it came to the lobby work on the local level”

Ingrid Stroom, Live Music Estonia - (Estonia )

“We have been celebrating the 10th anniversary of Live DMA, a network which was created in 2012 by venue networks from all over Europe. The purpose was to share knowledge and skills with each other, and to set up common projects, and I think we’ve succeeded in doing that!”

Marc Steens, Clubcircuit - (Belgium: Flanders )

“I learned to collect and process data with good quality, and also I learned the importance of data to start a dialogue with institutions. Good data gave ACCES a lot of recognition”

Elda Gomez, ACCES - (Spain )

ʻʼThanks to Live DMAʼs Survey, we showed our government that the more a venue is subsidized, the more money they generate. The Ministry of Culture had little knowledge of our sector. So to present these figures from different European countries was crucial in re-valorising our subsidies.”

David Dehard, Court-Circuit - (Belgium: Wallonia & Brussels )

ʻʼAs a venue, we believe that the live music sector is insufficiently recognised as part of culture. Networks like Live DMA can amplify local voices. Being part of Live DMA help us gain knowledge from across Europe and find partners with similar challenges.ʼʼ

Ieva Irbina, LPNVA - (Latvia )

ʻʼ[European Cooperation] gives indeed vision: weʼre every day provided with mental-openness and support. It might seem imperceptible but itʼs fundamental to feel part of a wider ecosystem. It boosts our awareness as representative of a whole sector and this bring direct advantages to our members.ʼʼ

Federico Rasetti, KeepOn Live - (Italy )