“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.”
Communication Officer
-
For the last Live Style Europe radio show of the season, we would like to look back on the second year of the Live Style Europe project and project ourselves in the future by presenting our upcoming activities. In 2017, the European Commission granted Live DMA with the European network funding via the Creative Europe…
Read»
-
Our member in the United Kingdom, Music Venue Trust has published two guides on how to open and run a Grassroots Venue. Grassroots venues share the same values and mission. Live music is their main purpose, and they often take a financial risk when presenting new talents. From local band support to renowned stages, the…
Read»
-
This paper studies the autonomy of music bookers in regard of the structural independence of live music clubs and venues through the examples of Paris and Berlin. It was published in June 2019 in Symbolic Goods, a Social Science Journal on Arts, Culture and Ideas. It was written by Myrtille Picaud. The growing monopoly of…
Read»
-
On the 26th of March 2019, the European Directive on Copyright on the Digital Single Market was adopted. This directive, which aims at ensuring ” a well-functioning marketplace for the exploitation of works and other subject-matter[s] […] taking into account in particular digital and cross-border uses of protected content” has created a lot of debate…
Read»
-
As part of our capacity building project co-funded by the Creative Europe programme Live Style Europe, Live DMA organises each year a working group that aims to empower its members and the live music venues, clubs, and festivals to adapt and to react to the challenges related to the live music sector. In 2019, Live…
Read»
-
Any future environmental noise regulation must safeguard the cultural rights to live music and artistic freedom. This paper provides guidance for the drafting of a good urban policy in relation to live music. The recommendations come from a working group comprising live music experts from across Europe who worked together in Antwerp and Madrid to…
Read»
-
The Creative Europe programme aims to support the European audiovisual, cultural and creative sectors. It is the first EU programme with budget and funds for the cultural and audiovisual sector. Indeed, Creative Europe contains three sub-programmes: one dedicated to the Media sector, one dedicated to Culture and one cross-sectoral strand. CREATIVE EUROPE 2014-2020 Global budget:…
Read»
-
The Guarantee Facility is a loan programme developed by the European Investment Fund. It is aimed at SMEs and entrepreneurs from the Cultural and Creative sectors in order for them to facilitate their access to banking loans. The EU vouches for this loan so the bank has more chance to accept it. People benefitting from…
Read»
-
Are you an artist, creator or cultural professional looking for international collaborations, to go abroad for your professional development, to find new audiences, to present your work, to co-produce or co-create with others? Are you a well-established artist, or a cultural organisation willing to host artists or cultural professionals, to work together on a common…
Read»
-
-
“It’s all about sharing and cooperation!”
-
“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”
-
“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!”
-
“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”
-
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.”